Trouble in Paradise
SEQUENCE A
FADE IN NIGHT
MED. SHOT DOOR OF A HOUSE A cheap residential district. The house has no architectural character; it is not certain where we are. Near the entrance door is a garbage can, full.
A dog is nibbling at some of the garbage. We hear whistling, footsteps. A garbage man comes into the picture. He shoos the dog away. Without pause in whistling, he lifts the garbage can and, followed by camera, goes to the end of the block, which is only a few steps. Now we discover we are in Venice. In the background is a major canal and a typical bridge--romantic background. Gondolas are passing. In the foreground at the sidewalk is the garbage gondola, piled high with garbage. The man dumps his load, leaves the empty can on the sidewalk, gets in the gondola, and paddles away with the grace of a gondolier. Now, in a beautiful tenor voice which is quite a contrast to the garbage, he starts singing a passionate Italian love song.
LONG SHOT A GONDOLA Two tourists. Husband and wife. They are in a sentimental embrace. In back is the gondolier. Camera follows gondola a few seconds, coming closer.
ANOTHER GONDOLA Camera shoots down. Gondola is covered by a typical little canopy, so that gondolier cannot see the passengers. Camera cuts canopy on one side so that we don't see, at first, who is paddling. In the gondola seat is a woman in evening gown, lots of jewels. She lies in the arms of the gondolier. They kiss. Camera moves up and discovers who is paddling the boat. It is the husband of the lady who is having such a good time with the gondolier. Husband is in tuxedo and straw hat, smoking a long cigar. He is enjoying it like a child with a new toy.
HUSBAND Darling!
WIFE'S VOICE Yes, sweetheart.
HUSBAND What a canal!
SIDEWALK in front of the hotel. Camera shoots down from the hotel on the sidewalk, including part of sidewalk and canal. The water reflects the electric-lighted name of the hotel. At sidewalk is moored a gondola in which are four people. A man climbs out, starts to sing, the others in the gondola playing accompaniment. We hear a romantic Italian song, irresistible. The four look up to the hotel windows, expecting coins.
HOTEL ROOM INT. photographed against the open window. In the background is the canal. Through the window we hear the street singers. Near the window is a table where five men are in a poker game, not listening to the music. We hear, over the music, the rattling of the chips. After a few moments the noise of the chips stops and the singing comes through more clearly. Casually one of the men, cards in hand, walks to the window, closes it, and returns to game.
ANOTHER HOTEL ROOM CLOSE SHOT at open window. A woman is on a chair by a small table, telephoning.
WOMAN Uh-huh ... Uh-huh ...
During the scene we hear the same street singers. The woman, annoyed by the singing, closes the window.
ANOTHER HOTEL ROOM Shooting over the bed toward an open window. Same singers are heard. On the bed, in the foreground, is a woman lying in her chemise and crying. In the background, sitting on the arm of a chair which is by the open window, is an elegantly dressed man. Evening clothes, overcoat, hat, walking stick. Annoyed by the crying and by the outside music, he gets up and slams the window shut with a bang.
FRANÇOIS'S HOTEL ROOM MED. SHOT In the background is an open window with French doors leading to a little balcony. This room is on the other side of the hotel, looking out on a side canal. Close outside the window we see trees. The same music is still audible, but much fainter. Near the window is a desk. The drawer is open and all the papers are scattered on the floor. At the other side of the window is a trunk, open, all the drawers out and the contents thrown around. Room looks as if it has been rifled. For a little while we hear nothing but the faint music. Then we hear the door buzzer. There is no reaction. The buzzer rings again. Suddenly from behind the camera, a man comes into the picture. He is in a tuxedo. His back is to the camera, so we cannot identify him. He goes quickly to the window, jumps from balcony to a tree, and, climbing down, disappears. Buzzer rings again.
Camera goes toward the tree to a very big close-up of a little branch. We see, on this little branch, a false moustache. We hear the man reach ground and receding footsteps as he hurries away. Again we hear, a little fainter, the buzzer.
[EXT.HOTEL MED. SHOT On wall in moonlight. We see shadow of tree and of man as he reaches the ground. In silhouetted shadow, we see him take off moustache and sideburns and toss them out of the picture.
FRANÇOIS'S HOTEL ROOM MED. SHOT toward window, low. Camera draws back and comes to a close shot on the feet of a man outstretched on the floor behind the camera. Buzzer is heard again, loud.]
HOTEL CORRIDOR CLOSE SHOT at room door. We see the numbers 253, 5, 7, 9. At the door are two Italian dames, obviously disreputable. One is pushing the buzzer. They speak in Italian, but their emphasis and pantomime make the following clear to English- speaking audiences: Girl No. 1 brought Girl No. 2 to see the gentleman of room 253. Girl No. 1 rings again. Girl No. 2 complains to Girl No. 1 that she should have known better than to have brought her here and wasted her time. Girl No. 1 apologizes and indicates her watch as if to say, "The appointment was definite. I can't understand it." She rings again--viciously this time.
LONG SHOT FRANÇOIS'S HOTEL ROOM Sprawled on the floor, his head resting on a chair, François is motionless. We see that a crime has been committed. François is an elegant man, about thirty-five, a conceited bon vivant. He is in a tuxedo. We hear the buzzer, insistent.
CORRIDOR CLOSE SHOT at door Girl No. 1 presses buzzer angrily. Girl No. 2 accuses her loudly. Girl No. 1 answers just as loud. Girl No. 1 now bangs on the door, shouting insults to occupant of the room. Girl No. 2 joins her.
CLOSE SHOT HOTEL CORRIDOR at door across the hall from room 253. It is numbered 254. We hear the voices of the angry Italian girls. The door opens, and an old gentleman, white beard, dressing gown over evening clothes, steps out. He politely but firmly asks, in Italian, for silence.
CLOSE SHOT DOOR ROOM 253 The girls turn quickly toward the man. No. 2 says she can talk as much as she wants to.
CLOSE-UP OLD GENTLEMAN He states emphatically that he won't stand for this.
CLOSE-UP GIRL NO. 1 She looks over the old gentleman and makes a nasty personal remark.
CLOSE-UP OLD GENTLEMAN He loses his temper and insults the girls venomously.
CLOSE SHOT TWO GIRLS They are at the height of their fury. No. 2 walks out quickly toward the old gentleman.
CLOSE SHOT DOOR ROOM 254 Old gentleman is in the open doorway. Girl approaches. The two stand toe-to-toe trading verbal punches. The old man, disgusted, retreats. He is about to close door, but girl, still vociferous, follows him into his room and closes door behind her.
CLOSE SHOT GIRL NO. 1 Still in front of 253. In the sudden silence, she looks amazed toward 254. No. 2 has disappeared!
CLOSE SHOT DOOR ROOM 254 Door opens quickly. No. 2 sticks her head out and, with a characteristic jerk, says in Italian, "Come in." She disappears, door slightly ajar.
CLOSE SHOT GIRL NO. 1 at 253 She goes to 254, enters, closes the door. The camera swings fast to opposite side of corridor and stops at 253. We hear telephone ringing inside.
FRANÇOIS'S HOTEL ROOM Shooting from outside of the window into the room. In the foreground is the window frame. We see François on the floor. Phone is ringing. François awakes, tries to struggle to his feet. But, still under the influence of dope, he falls. As he falls he drags with him, from nearby little table, a tray with glasses, making a loud noise.
(The window frame in the following moving shot across windows outside will be done with a miniature hotel building.)
Camera swings swiftly along the hotel front, around the corner of the hotel, and up to the third floor. It stops at a little balcony. Behind the balcony, leaning against one of two open French doors, stands Gaston, in a tuxedo, smoking a cigarette, looking romantically into the night. We see, in the room, a waiter setting a dinner table for two. The waiter arranges some flowers; then he comes forward, offering Gaston the menu. Gaston does not respond.
WAITER (breaking into Gaston's reverie) Yes, sir? (Gaston still looks into the night.) What shall we start with, Baron?
GASTON (coming to) Oh, yes ... Well, that's not so easy. (Half to himself.) Beginnings are always difficult.
WAITER Yes, Baron.
GASTON (directly to the waiter, presenting a problem) If Casanova suddenly ... turned out to be Romeo ... having supper with Juliet--who might become Cleopatra ... How would you start?
WAITER (in a professional and prosaic tone) I would start with cocktails.
GASTON Um-hum. Very good. Excellent!
Suddenly Gaston sees something on the canal.
MED. SHOT GONDOLA In gondola, Lily, in evening dress, looks up at Gaston and waves graciously.
BALCONY CLOSE SHOT Gaston and waiter. Gaston bows--the bow of a gentleman to a lady of degree--and waves back. This is the woman he is waiting for.
GASTON (still looking at Lily) It must be the most marvelous supper. We may not eat it, but it must be marvelous.
WAITER Yes, Baron.
GASTON (turning) And, waiter--you see that moon?
WAITER Yes, Baron.
GASTON I want to see that moon in the champagne.
WAITER Yes, Baron. (Writing; very businesslike.) Moon in champagne.
GASTON (groping for words) I want to see-- (An ecstatic sigh escapes him.)
WAITER (continuing to write) Yes, Baron.
GASTON And as for you, waiter--
WAITER (eagerly; expecting a tip) Yes, Baron?
GASTON I don't want to see you at all!
WAITER No, Baron! (With a little bow, waiter starts to leave. Suddenly he sees something on the back of Gaston's jacket. Gaston looks at him, puzzled. Waiter reaches over, lifts a leaf that is clinging to the coat, and holds it up.) I beg your pardon.
GASTON (takes the leaf calmly) Thank you.
Waiter goes. We hear the door shut. Gaston is thoughtful a brief moment. Then idly he tosses the leaf over the balcony rail into the night.
TELEPHONE ROOM OF HOTEL CLOSE SHOT of an operator. In the background we see two other operators. We hear the girls answering in Italian. Our operator is delivering a lengthy message. While she is talking she looks up to the switchboard because she sees:
CLOSE SHOT SWITCHBOARD at No. 253. The light is flashing on and off very quickly. We hear the operator's voice, still busy with the message she is delivering. Now she plugs in on 253.
CLOSE-UP OPERATOR
OPERATOR Si, signore. (We see by her expression that the man in room 253 is reporting the robbery; excitedly.) Yes, sir! Right away!
She disconnects 253 and plugs in on the manager. She tells the manager, in Italian, what has happened.
CLOSE SHOT GLASS DOOR In Italian, English, French, and German: Manager. Door opens and manager hurries out.
BIG CLOSE-UP OPERATOR talking very fast in Italian, reporting the robbery to someone else.
CLOSE SHOT A DOOR opens, and another man, apparently a detective, comes out.
STAIRCASE Another hotel attendant is running up.
BIG CLOSE-UP TWO MAIDS talking excitedly in Italian, apparently discussing the robbery.
ANOTHER PART OF CORRIDOR Camera shoots down over the back of a waiter. He holds high over his shoulder a tray on which are several empty dishes. A little bellboy is standing beside the waiter, looking up and explaining in Italian excitedly what has happened.
STAIRCASE TWO maids on opposite landings. Steward comes up stairs and tells them of robbery.
TELEPHONE ROOM Another operator talking excitedly.
CORRIDOR A hotel official dashes along. We hear many voices talking at the same time. Camera pans with him up to room 253 where he stops. Door is open. Half in room, half in corridor, are hotel attendants, detectives, the manager. With excited gestures, they are discussing the situation in Italian. Their voices become increasingly loud.
MED. SHOT to room 254. It opens quickly. Girl No. 2 appears, hair slightly disarranged. She looks annoyed and shouts in Italian for them to keep quiet.
MED. SHOT of room 253. The men stop talking, look quickly over toward the girl.
CLOSE SHOT GIRL NO. 2 Indignantly and crudely, she wants the noise to cease. She closes the door.
MED. SHOT AT ROOM 253 The men, talking quietly, go into the room and close the door.
GASTON'S HOTEL ROOM MED. SHOT at door, inside. Gaston opens it, and Lily enters quickly. Gaston closes the door, looks at Lily questioningly. She is excited and out of breath.
LILY Oh, my gracious--he almost saw me.
GASTON (the crook in him worried for a second) Who?
LILY (almost hysterical) The Marquis de la Tours. He was in the lobby. But I don't think he saw me. I'm positive he didn't. Thank heaven! ... But when I came up here, right out in the hall there was King Boris of Alconia!
GASTON The tennis player?
LILY The tennis player. He saw me. He bowed. What could I do? I nodded. (Summing up in panic.) Baron, I shouldn't have come!
GASTON (goes to her, takes her hand; with great feeling) But you came. And you must forget everything-- (Lily looks at him, a little afraid) except that you are here, Countess.
Gaston helps her off with her wrap, puts it on a chair. Lily nervously walks out of the picture.
CLOSE SHOT AT WINDOW shooting from inside. Lily comes in, stops at a chair, sits nervously, stands, moves to window, and looks off from balcony. Gaston comes in. He touches her hand. She turns to him.
LILY Out there in the moonlight everything seemed so perfect, so simple--but now--but now--
Gaston, thinking her mood is changing to a love mood, is about to embrace her.
LILY (in a frightened tone) Do you know King Boris?
GASTON No--no.
LILY Do you know the Marquis de la Tours?
GASTON (with a little smile) I would like to.
LILY (agitatedly) You'd better not. He's really very dull. But anyhow, when the king tells the marquis he saw me, the marquis will tell the marchesa. And the marchesa is the best friend of the Duchess of Chambro. And she will phone the Princess de Costa. The princess doesn't like me--but I don't care!
GASTON Why should you?
LILY (as if arguing) But she talks a lot. And before this night is over, all Venice will know it. And tomorrow it will be Grand Canal gossip! ... Oh!
Exhausted, she moves away, drops into an armchair. Gaston goes to her, sits on the arm of the chair, leans over.
GASTON (tenderly) Don't stop. Keep right on complaining. It's beautiful.
LILY (looks at him for a moment, quietly; then) You know, when I first saw you, I thought you were an American.
GASTON (flattered) Thank you!
LILY (With great delight) Someone from another world--so entirely different. One gets so tired of one's own class--princes and counts and dukes and kings--ah! And everybody talking shop--always trying to sell jewelry ... And then I heard your name and found you were just one of us.
GASTON Disappointed?
LILY (leaning back with lure) No--proud. Very proud!
Gaston takes her in his arms and kisses her. She returns his embrace. We hear the phone ringing. The embrace breaks, and both look startled. Gaston obviously is nervous because he is a crook. We don't know why Lily is nervous. Gaston goes quickly toward the phone.
CLOSE SHOT LITTLE TELEPHONE TABLE Gaston enters, picks up the phone.
GASTON Hello ... The countess?
CLOSE-UP LILY She is still in the chair. Frightened, she rises quickly.
CLOSE SHOT GASTON
GASTON Just a moment. (Hands over the receiver.) The Duchess of Chambro.
CLOSE SHOT LILY at the window. She is perplexed for a moment. Then she hurries out toward the phone.
CLOSE SHOT at the phone. Lily enters. She makes a gesture as if to say, "You see? They know already!"
LILY Hello, Your Grace. Yes, Your Grace. How did you know I was here? Oh, the marquis-- (She gestures to Gaston as if to say, "Didn't I tell you?") Yes, Your Grace. I see. (Gaston walks out of the picture.) Dinner tomorrow--at your palace. Oh, I'd be delighted. King Boris will call for me ... (She makes a gesture of annoyance to Gaston.)
SECOND-CLASS HOTEL ROOM It is very much in disorder. On the night table is a phone. The woman who speaks is frowsy, fat, common. She is apparently Lily's companion, maid, and intimate friend.
WOMAN (voice guarded and low) Listen, Lily. When you come home, slip up the back way. I can't talk now, but do what I tell you. (In a loud voice.) And listen, Lily. You know what that darn dog of yours did--?
CLOSE SHOT LILY at the phone.
LILY So, he really did! How charming! Well, my compliments to the duke. Goodbye. (She hangs up, faces Gaston, makes a desperate gesture.) There you are. The scandal is on!
MED. SHOT GASTON standing by the dinner table, thoughtful. He looks over to Lily.
CLOSE SHOT LILY She has sunk into a sofa.
LILY (half-despairingly) Oh! (She puts her head in her hands.)
MED. SHOT GASTON looks sadly at the table, realizing that the dinner he had pictured so charmingly may be spoiled. He goes to Lily.
MED. SHOT LILY in the chair, still holding head in hands. Gaston enters, touches her hair lightly, controls himself.
GASTON Countess, I'm sorry. (With great feeling.) If you think it's best for you to go--well--
CLOSE-UP LILY She looks up at Gaston, amazed.
CLOSE-UP GASTON He looks at Lily with great tenderness.
CLOSE SHOT LILY She looks tenderly at Gaston. She rises, camera rising with her to include both Gaston and herself. She touches his arm. She is moved and confused. Her real feeling starts to break through at this manifestation of chivalry.
LILY (in a tremulous voice) I think that's very nice--yes, very nice. (They look at each other a few seconds.) I think--I think we should have a cocktail.
Gaston is delighted. He kisses her hand, goes quickly to the dinner table.
CLOSE SHOT at the dinner table. Gaston walks in, picks up the cocktail shaker. He shakes it, smiles happily at Lily.
MED. SHOT FRANÇOIS'S HOTEL ROOM François has recovered his memory. His hair is still disarranged, eyes still glazed. For a few moments, he is incoherent, then he gradually becomes almost normal. Grouped near him are five Italian hotel officials, a detective, and the manager. They are gesturing excitedly, all talking at the same time. The dialogue is fragmentary, ad lib, Italian. The manager, who speaks English, turns to François.
MANAGER (indicating the detective) The representative of the police wants to know how much money you had, M'sieu Filiba.
FRANÇOIS I had exactly twenty thousand lire. I had just cashed a traveler's check and put it in my wallet.
Manager turns to the others and translates. They go into a huddle and talk excited Italian.
MANAGER (to François) Why did you let this man in, M'sieu Filiba?
FRANÇOIS Well, he knocked at the door. You see, I was expecting two--uh--two business associates.
Manager turns again to our Italian friends and again we see the same excitement.
MANAGER (again to François) And then what happened, M'sieu Filiba?
FRANÇOIS I said, "Come in." And there he was. A fine-looking man with a moustache and long sideburns. He said, "Good evening. I'm the doctor." I said, "Doctor?" He said, "Yes, the doctor. I came to see about your tonsils."
Manager turns back, translating. It creates a sensation.
MANAGER (to François) The representative of the police wants to know if there is anything wrong with your tonsils.
FRANÇOIS No!
MANAGER (to group) Niente!
FRANÇOIS That's just what I tried to tell him. Well, one word led to another. He really was a very charming fellow. So we talked for about ten minutes.
Manager translates. Again excitement.
MANAGER (to François) What did you talk about?
FRANÇOIS About tonsils.
MANAGER (to the group) Tonsili!
FRANÇOIS So I said to myself, "All right, if he wants to look at them, let him look at them. No harm in that." And then he said, "Say ah." And then I said, "Ah." And that's all I remember ... And when I woke up, I still had my tonsils, but my pocketbook was gone.
Manager translates. Again excitement.
GASTON'S HOTEL ROOM MED. SHOT at dinner table. Gaston and Lily are seated, eating. Waiter is pouring champagne.
GASTON (With casual interest) Was it lots of money?
WAITER Oh, it must have been, Baron. The gentleman occupies the Royal Suite-- two fifty-three, five, seven, and nine. I think his name is M'sieu Filiba.
Lily apparently is even less interested.
GASTON You're not safe anywhere nowadays.
WAITER But please, Baron. We're not supposed to breathe a word of it. You won't tell anybody I told you?
GASTON You can trust me.
WAITER Yes, Baron. Thank you. (Waiter goes.)
HOTEL CORRIDOR MED. SHOT at door of Gaston's room. The number is 300-302. Waiter comes out, closes door.
GASTON'S ROOM CLOSE SHOT at dinner table. Lily serenely continues to eat.
GASTON That's hotel life. In one room a man loses his wallet (very tenderly) and in another room a man loses-- his head. (He tries to kiss Lily.)
LILY (holding him off gently) Please. (Very sincerely.) When I came here it was for a little adventure--a little game which you play tonight and forget tomorrow. But something has changed me--and it isn't the champagne. (Gaston, also with sincerity, takes her hand.) The whole thing is new to me. Very new. I've got a confession to make to you. (After a slight pause.) Baron, you are a crook. (Gaston's expression doesn't change.) You robbed the gentleman in two fifty-three, five, seven, and nine. (Still Gaston's expression doesn't change. After a slight pause, Lily turns back to the table.) May I have the salt?
GASTON (passes the salt with an elegant gesture) Please.
LILY Thank you.
GASTON The pepper, too?
LILY No, thank you.
GASTON You're very welcome. (There is a short silence as both continue with the meal. Then, with great candor.) Countess, believe me, before you left this room I would have told you everything ... And let me say this with love in my heart-- Countess, you are a thief. (Lily drops her knife and fork.) The wallet of the gentleman in two fifty-three, five, seven, and nine is in your possession. I knew it very well when you took it out of my pocket. (With great charm.) In fact, you tickled me. (Moving closer to her.) But your embrace was so sweet ... (He caresses her hand lingeringly. Then he gets up, walks out toward the open window.)
CLOSE SHOT at the window. Gaston enters, closes the window, and pulls the curtains. Looking back at Lily with smiling promise, he returns to the table.
CLOSE SHOT TABLE Gaston goes to her, takes her hand, and draws her to her feet. She looks at him expectantly. Gaston takes her in his arms. It looks like the start of a passionate love scene. Suddenly, unexpectedly, he grabs her by the shoulders, shakes her violently.
INSERT Of their feet. Wallet falls from Lily's dress.
CLOSE SHOT GASTON AND LILY Gaston reaches down, picks up wallet, puts it casually in his pocket, then gracefully holds chair, inviting her to sit.
GASTON Countess.
Lily sits with all the poise of a lady. Gaston sits. They continue the meal as if nothing has happened.
LILY I like you, Baron.
GASTON (fervently) I'm crazy about you. (He reaches in his side pocket, takes out a diamond brooch which Lily wore when she came in.) By the way, your pin.
Lily is flabbergasted. She looks down to her bosom. Indeed, the pin is missing. She accepts the pin.
LILY (With a little smile of shame) Thank you, Baron.
GASTON Not at all, Countess ... There's one very good stone in it.
LILY (as she fastens the pin) What time is it?
Gaston reaches for his watch, discovers it is missing. He gives Lily a look of admiration and astonishment. Lily smiles triumphantly, opens her purse, lifts out the watch, hands it to him. He takes it with a bow.
LILY It was five minutes slow, but I regulated it for you.
They bow to each other like two Chinese mandarins.
GASTON (tenderly) I hope you don't mind if I keep your garter.
Lily almost leaps out of her chair. She raises her skirt; her hand searches for the garter. It is missing. Gaston takes the garter out of his breast pocket, shows it to her, kisses it, puts it back, and buttons his coat. Lily is delighted. This is the highest compliment ever paid to her. She slides into his lap, embraces him.
LILY Darling! (They kiss; very excitedly.) Now tell me--tell me all about yourself. Who are you?
GASTON You remember the man who walked into the Bank of Constantinople and walked out with the Bank of Constantinople?
LILY (thrilled) Monescu!
GASTON Gaston Monescu.
LILY (melting away) Gaston!
They embrace and kiss again.
COUCH Lily is lying on the couch, Gaston at her side, leaning over adoringly.
GASTON I love you. I loved you the moment I saw you. I'm mad about you. My little shoplifter! My sweet little pickpocket! My darling!
He takes her in his arms. They embrace and kiss.
DISSOLVE TO:
COUCH Camera hasn't moved but has dissolved the two lovers out of the picture. From outside the picture we hear the switch turned, and the light that fell on the couch goes out.
DISSOLVE TO:
WINDOW A hand comes in and opens the curtains. The moonlight streams in.
DISSOLVE TO:
CORRIDOR CLOSE SHOT at the door of 300--302. Gaston's arm, in the sleeve of a dressing gown, comes out and fastens on the hook below the number a Don't Disturb sign, clearly printed in several languages. He closes the door.
CORRIDOR CLOSE SHOT at the end of the corridor. Around the corner comes our Italian group. Loudly, in Italian, they are still discussing the robbery. Camera goes with them. In front walks the manager, who talks back and forth. The noise increases. Suddenly the manager looks in direction of rooms 300--302.
CLOSE SHOT DOOR We see Don't Disturb sign.
CLOSE SHOT ANOTHER PART OF THE CORRIDOR Manager, having seen the sign, turns to the others with a loud "Shh!" They quiet down.
CORRIDOR LONG SHOT of door to 300--302. The Italians are passing door very quietly. Suddenly the detective wants to say something. We tremble for Gaston and Lily. Manager again with "Shh!" Detective is silenced. Entire group goes quietly out of picture. We stay a few moments on the empty scene. Camera moves up to Don't Disturb sign.
DISSOLVE TO:
CLOSE SHOT GRAND CANAL Camera moves with the garbage gondola. It is filled to overflowing. The garbage gondolier has done a good evening's work. He is paddling with a flourish and singing an operatic aria.
FADE OUT
SEQUENCE B
FADE IN MINIATURE OF PARIS Shooting over the roofs and presenting a beautiful view. The camera pans back away from Paris and in the foreground we see factory chimneys, so that we get the impression we are moving into the factory district of Paris.
DISSOLVE TO:
BIG FACTORY WHISTLE It is blowing loudly.
DISSOLVE TO:
BIG GATE of the factory. Above gate, in large letters: Colet et Compagnie, Paris. Gate opens. Hundreds of workers, men and women, come out. They are hatless; it is lunch hour.
DISSOLVE TO:
[FADE IN
PARIS Shot of Eiffel Tower at night, emitting radio waves. Sound of Morse code signals.
DISSOLVE TO:
RADIO STUDIO ANNOUNCER AT MIKE CLOSE-UP
ANNOUNCER (reading copy) Geneva ... From Geneva comes the news that the world-famous international crook, Gaston Monescu, robbed the peace conference yesterday. He took practically everything, except the peace. The police arrested him and confiscated all the stolen goods, but he managed to escape in an unexplainable manner. This is the Paris police reporter speaking.
Announcer exits. A second announcer enters.
SECOND ANNOUNCER Ladies and gentlemen, this program comes to you through the courtesy of Colet and Company, manufacturers of the most famous perfumes in the world. Remember--it doesn't matter what you say; it doesn't matter how you look; it's how you smell. Thank you. (Starts to sing.) "Colet, Colet, Colet and Compa-ny"
CLOSE SHOT Colet et Compagnie sign in front of retail establishment. Song continues.
SECOND ANNOUNCER VOICE "are makers"
Shot of kiosk sign for Colet et Cie.
VOICE CONTINUES "of the"
Shot of flashing neon sign for Colet et Cie.
DISSOLVE TO:
SONG CONTINUES "best perfume."
SECOND ANNOUNCER (Still singing) "If you and your beloved can't agree,"
NEON SIGN showing man spraying sleeping woman with perfume atomizer. Woman wakes up and stretches.
SONG CONTINUES "permit us to sug-gest perfume."
SECOND ANNOUNCER (singing) "Cleopatra was a lovely tantalizer. But she did it with her little atomizer."
CLOSE SHOT Girl spraying herself with atomizer bottle.
SONG CONTINUES "We'll make you smell like"
ANOTHER GIRL applying perfume with glass applicator.
SONG CONTINUES "a rose; every"
OVERHEAD SHOT Large factory complex, camera advancing.
SONG CONTINUES "nose in Paris knows"
LONG SHOT Factory gates with sign, Colet et Cie. Hordes of workers pouring out.
SONG CONTINUES "Colet and Compagnie."
DISSOLVE TO:]
DIRECTORS' ROOM of Colet et Cie. Camera is moving over a long table. We see only the forward half of the table--serious-looking businessmen. Camera stops at the head in front of M. Giron, chairman of the board, a distinguished elderly man. He is addressing someone at the unseen other end.
GIRON I'm sure, Madame Colet, if your husband were alive, the first thing he would do in times like these--cut salaries.
There is an approving ripple of voices from the other directors.
CLOSE-UP MARIETTE COLET in a beautiful light morning dress at the other end of the table.
MARIETTE Unfortunately, M'sieu Giron, business bores me to distraction-- and besides I have a luncheon engagement. So I think we'd better leave the salaries just where they are. (Rising.) Goodbye!
GIRON (rising) Goodbye, Madame Colet.
VOICES Goodbye, Madame Colet.
DISSOLVE TO:
JEWELRY STORE, VERY ULTRA CLOSE-UP at counter. We see some expensive-looking small purses, compacts, laid out on velvet. Behind counter, an elegant clerk is talking to Mme. Colet, who is out of the picture.
JEWELER This one, Madame Colet, is only three thousand francs.
CLOSE-UP MARIETTE Side of counter, now in a beautiful afternoon gown.
MARIETTE Oh, no. That's entirely too much ... How about that one?
CLOSE-UP JEWELER
JEWELER (picks up a handbag, reads the price) That's sixteen hundred and fifty
CLOSE-UP MARIETTE
MARIETTE Sixteen hundred and fifty! That's outrageous!
CLOSE-UP JEWELER
JEWELER (pointing to another) Here's one for nine hundred.
CLOSE-UP MARIETTE
MARIETTE Hmm ... not bad ... How about that one?
CLOSE-UP JEWELER He looks down inside the showcase, reaches in, takes out a beautiful handbag, much larger. It is studded with diamonds.
JEWELER (With a smile) Oh, this one ... Madame--well, that's a hundred and twenty-five thousand francs.
CLOSE-UP MARIETTE
MARIETTE But it's beautiful. I'll take it!
CLOSE-UP JEWELER
JEWELER Thank you, Madame Colet.
Picks up an elaborate box. As he puts handbag in box we
DISSOLVE TO:
STREET IN PARIS CLOSE SHOT at door to shop of a fashionable furrier. We hear, from outside the picture, the purr of a motor and the sound of brakes as a car comes to a stop. Proprietor opens door from inside, comes toward camera, beaming, bows in the direction of the unseen car.
PROPRIETOR How do you do, Madame Colet?
DISSOLVE TO:
[SAME SHOT But now the proprietor has seen her out. Sound of car starting and going.
PROPRIETOR (obsequiously) Goodbye, Madame Colet.
DISSOLVE TO:]
CLOSE SHOT at door in office building, shooting from corridor into a nondescript little waiting room. Door is open so that we can't see sign on it. In doorway stands a fat little Turk with a pointed black beard. He bows repeatedly to someone behind camera.
MAN Goodbye, Madame Colet.
He goes back into office, closes door. Now we read the sign: Dr. Isar Ben Marguli, Astrologer.
DISSOLVE TO:
FINE RESIDENCE STREET MED. SHOT in front of Mariette's house. Mariette's very expensive car, shooting from house to car. At open car door stands footman, looks toward entrance of the house, bows.
FOOTMAN Yes, madame.
DISSOLVE TO:
STAIRCASE MARIETTE'S HOUSE INT. shooting from stairs down to hall against entrance door. In foreground, the lower part of staircase. In background, the elaborately furnished hall. Butler stands at foot of staircase, looking up.
BUTLER No, madame.
DISSOLVE TO:
UPPER PART OF STAIRCASE Camera shoots up. On landing at head of stairs, the maid. Background, expensive upper hall. Maid looks at Mariette, who is apparently halfway down staircase.
MAID Yes, madame.
DISSOLVE TO:
BEAUTIFUL GARDEN Background, glimpse of hothouse. Foreground, near flower bed, the gardener.
GARDENER Yes, madame.
DISSOLVE TO:
DRAWING ROOM CLOSE SHOT At fireplace stands François Filiba, back to camera; we don't recognize him.
MARIETTE'S VOICE No, no, no, no, François! I tell you no!
ARMCHAIR Mariette, in a precious armchair by fireplace. We see reflection of the fire. She is in beautiful evening gown. At her side, on a little table, a glass of champagne.
MARIETTE (almost dreamily) You see, François, marriage is a beautiful mistake which two people make together. (Sitting up; in a down-to-earth tone.) But with you, François-- (Friendly; shaking her head.) I really think it would be a mistake.
FIREPLACE François, still with back to camera. He stiffens at this rejection. He turns, affronted, faces Mariette. Now we discover he is François, the man who had trouble with his tonsils in Venice.
DISSOLVE TO:
GOLF COURSE CLOSE-UP of the major, a man about forty-five, in smart golf togs. He looks dejected.
MARIETTE'S VOICE Don't be so downhearted, Major. You're not the only one I don't love.
CLOSE-UP MARIETTE on golf course, also in smart sport clothes. She is getting set to swing at the ball and is more concerned with her golf form than with what she is saying.
MARIETTE I don't love François, either.
She swings, hits the ball, turns, watching it, smiles. It was a good shot.
DISSOLVE TO:
STAIRCASE IN MARIETTE'S HOME Maid comes down, leans over railing, addresses someone behind camera.
MAID Madame will be ready in two minutes.
SOFA IN FRONT HALL François and Major, seated. Both in full evening dress-- overcoats on, top hats on knees, opera sticks in hands. Expressions serious as they nod to maid, then lean back without looking at each other.
FRANÇOIS (after a moment of frigid silence) I know you don't like me, Major. And to be perfectly frank, I dislike you intensely. But since we have to be in each other's company this evening, we might as well make conversation. (He expects a reply but gets none.) Well, Major, what's your answer? (Major still doesn't answer. Furiously.) For heaven's sake, man, say something!
MAJOR (turns, looks him up and down; distinctly and slowly) Tonsils.
François leaps to his feet, outraged at being reminded of the humiliating episode.
DISSOLVE TO:
OPERA HOUSE CLOSE SHOT Part of the orchestra; shooting on an angle down, so that we photograph part of the orchestra and a portion of the footlights without the singers. We hear the orchestral music and the singers' voices.
OPERA BOX Door opens. Mariette and Major come in. Mariette looks annoyed. She sits. Major sits.
CLOSE SHOT Door to box, from interior. Door opens. François appears. He is very angry. The argument with the major apparently reached its peak before they came into the opera house and at the last moment he refused to accompany them.
FRANÇOIS (whispering but final) Goodbye! (He closes door, disappears.)
CLOSE SHOT Mariette and Major. Major paid no attention to François. But Mariette, more annoyed than before, looks toward door, then back to Major.
MARIETTE You should be ashamed of yourselves. Two men of your standing, always quarreling.
MAJOR He started it.
MARIETTE But you're the more intelligent one.
MAJOR That's true.
MARIETTE Then why did you do it?
MAJOR Because I hate him--because I love you!
MARIETTE You should have more self-control. You were in the army.
MAJOR Well, he was in the navy.
CLOSE SHOT DOOR It opens again. François appears again.
FRANÇOIS (With increased finality) Goodbye! (He closes door again.)
CLOSE-UP MARIETTE AND MAJOR
MARIETTE I want you to go out and apologize --right away!
Major leaves against his will.
OPERA CORRIDOR CLOSE SHOT at to box. François is in a chair by the door, opera hat and overcoat still on. Door opens and Major comes out. François gets up. They glare each other.
MAJOR See here, my good man. You've been saying goodbye for the last half hour, and staying on. I wish you would say how do you do, and go!
MED. SHOT BOX Mariette, listening to the music. Suddenly door opens. She turns as Major comes in and sits beside her. She looks at him questioningly.
MAJOR (proudly) Well, he left. (Mariette is surprised.) I tell you, apologizing is a gift! (He nods pompously as if to say, "I have this gift.")
ORCHESTRA SEATS CLOSE-UP of Gaston. He is looking through opera glasses up at Mariette's box. Camera is so close to the opera glasses that we can't see Gaston's face. We see his hand adjusting the opera glasses.
MARIETTE'S BOX Gaston's viewpoint, photographed through an opera-glass vignette. We see Major and Mariette. Camera stops in front of the railing. We see Mariette's hand holding the handbag. Camera centers the handbag. We hold this, then camera pans up to Mariette's face. She is looking at the stage. Camera pans quickly down again to handbag. We stay on the handbag. Major's hand comes in and touches Mariette's hand caressingly. She brushes his hand aside. Camera moves quickly up to Major. He is looking ardently at Mariette. He leans over to her. Camera with him. Both in the picture. A dialogue scene now follows, but even though it is a close-up, we can't hear them because they are through binoculars from a distance. In this inaudible but visually expressive scene, Major tells her he can't understand her attitude toward him. She impatiently asks him to leave her alone to enjoy the opera opera. Major persistently says he loves her. Mariette insists that he stop it. She takes out of her lap (which is not in the picture) opera glasses and holds them to her eyes. Major gives up, leans back in chair. Camera centers Mariette, alone. Then camera, still framed in opera-glass vignette, pans down and comes to rest on handbag, now lying on the railing unprotected.
CLOSE-UP CONDUCTOR from viewpoint of the stage. He is looking up at the singers. Then he looks down to his score.
SCORE CLOSE-UP from viewpoint of the conductor. It is the first act, at about page twenty. We hear the soprano singing.
SOPRANO'S VOICE I love you, I love you, I love you!
CHORUS'S VOICES She loves him, she loves him, she loves him!
Without changing camera angle, we see the pages being turned as if by a breeze, and
DISSOLVE TO:
CLOSE-UP SCORE at about page ninety; at least one act has been played. We hear same soprano singing--but a different tune in a different key.
SOPRANO'S VOICE I hate you, I hate you, I hate you!
CHORUS'S VOICES She hates him, she hates him, she hates him!
CORRIDOR MED. SHOT OPERA HOUSE toward the sumptuous down-staircase. We see, in corridor, at opposite sides of staircase, doors to ladies' and men's restrooms. Door to the ladies' restroom is in foreground. A gentleman is pacing up and down. Door opens; a lady comes quickly to the gentleman. They exchange a few words, which we don't hear. (Music of opera comes in dimly) Gentleman reaches in pocket, gives her a coin. Lady goes back quickly. As she is about to enter restroom Mariette comes out, excited, rushes past gentleman down corridor and out of picture.
MARIETTE'S BOX Major sits alone. The music comes in full volume. Mariette enters, looks at her chair, at railing, at Major. During the following, both search around in the box.
MARIETTE My bag!
MAJOR Your bag?
MARIETTE (impatiently) Yes, my bag!
MAJOR Didn't you take it with you?
MARIETTE Apparently not. Don't you know where it is?
MAJOR No--I'm sorry.
MARIETTE But you saw it here.
MAJOR Yes, I saw it--but--
MARIETTE Well, where is it?
CLOSE-UP CONDUCTOR disturbed by the agitated sounds, looks up at Mariette's box, sternly reproving.
BOX Mariette and Major are standing, searching.
MARIETTE It couldn't have walked out by itself!
Major inadvertently tips over a chair.
GALLERY Two typical music lovers. One is bent forward, eyes fixed on the stage. The other leans back, eyes closed in ecstasy. First man, suddenly annoyed by sounds from the box, says, "Psst!" Second man suddenly wakes up, looks angrily at first man, says, "Shh!" The two glare at each other.
CORRIDOR outside Mariette's box. (Music continues, slightly muffled.) Door opens. Mariette and Major come out, shut door. Major is carrying hat and coat. They are still searching, looking everywhere. Camera moves with them as they go down the corridor. Mariette goes into ladies' room. Major automatically follows her; door closes behind them. An instant later, Major scurries out. Followed by camera, he hurries away, embarrassed, stops, turns.
CLOSE SHOT at door to ladies' restroom. The maid, a middle-aged woman, looks grimly at Major.
CLOSE-UP MAJOR He doesn't know what to say or how to act. At this moment the music stops. We hear the bursting final applause.
CORRIDOR Doors to first balcony open, and many people hurry out. We still hear applause.
STAIRWAY AND CORRIDOR OUTSIDE BOXES On either side, a door to a restroom. At top of stairway stands Major. People emerging from boxes. Mariette comes out of ladies' room, goes to Major. We see by her gestures she hasn't found her bag. More people pass from behind camera. Mariette and Major are caught in the crowd and disappear.
DISSOLVE TO:
STAIRWAY SAME CAMERA ANGLE Last patrons leaving down the stairs. They disappear; corridor and staircase are empty. Door of men's room opens; out comes a lone figure, Gaston. Immaculate in evening dress, top hat, overcoat, and stick, he strolls toward the stairs and starts down.
FADE OUT
SEQUENCE C
FADE IN
JEWELRY STORE (Not the one where Mariette bought her bag.) Shooting from inside store through window toward street. In front of window appears Major. He looks, sour and depressed, at the window display. Camera moves with him as he enters shop and goes to counter. Camera pulls back, and now we discover François at the counter. Both look straight ahead; they don't see each other yet. Clerk enters.
CLERK (to Major) Yes, m'sieu?
MAJOR I would like to have--
He sees François, and François sees him.
FRANÇOIS (cheerfully) Good morning, Major.
MAJOR (embarrassed) Good morning. (Stuttering; to clerk.) I'd-I'd-I'd like to look at some cuff links.
CLERK Very well, m'sieu.
Clerk goes. Major ignores François. François smiles, ironical.
FRANÇOIS (with feigned innocence) Nice day, Major.
MAJOR (grunts) Umm.
FRANÇOIS You're looking fine, Major.
MAJOR (turning) Now see here, my good man. I've had just about enough of your insulting remarks!
Another clerk enters. He puts several handbags on counter for François. François regards them smilingly. Major is speechless.
DISSOLVE TO:
CLOSE SHOT SIGN on cheap hotel in suburb of Paris, shooting up from street. Sign reads Paris-Astor Hotel. Camera pans down. In entrance doorway, the bellboy--on his cap: Paris-Astor Hotel-- shabbily dressed, leaning lazily against door, bag of cherries in hand. He eats and spits the stones into street with a minimum of energy.
CLOSE SHOT COUCH IN CHEAP HOTEL ROOM Lily, in negligee, lying on couch, face covered by newspaper she is reading while she has breakfast, which is on a little table beside her. The dishes are clean but cheap looking. Lily lowers the paper and looks slyly up. She sees:
OTHER SIDE OF ROOM CLOSE SHOT Gaston, in dressing gown, sitting in armchair, reading a newspaper.
CLOSE SHOT LILY She watches Gaston, looks down to table, back at Gaston. She wants to put something over without being seen-- something important. Now, quick, she decides to do it, come what may. She picks up a French roll--still watching him-- dunks it in the coffee, takes a hurried bite, and disappears again behind paper.
CLOSE-UP GASTON
GASTON (looking up from the paper) I don't agree with this review at all. I thought Martini's singing was adequate, but to call him a great singer--ridiculous!
CLOSE-UP LILY Still reading her paper.
LILY (without looking up) I always liked him. Especially last year in Munich ...
CLOSE-UP GASTON
GASTON (drops paper) Last year? It can't be that long.
CLOSE-UP LILY
LILY (drops paper) Yes! Don't you remember the day you took that Chinese vase from the Royal Palace (with tenderness) and made it into a lamp for my night table?
CLOSE-UP GASTON He looks at her with emotion, gets up, and goes to her.
MED. SHOT LILY Gaston sits close to her, caresses her hair.
GASTON I remember the lamp, I remember the night table, and I remember the night. (They kiss.) Everything will be all right again. (As he gets up; with a valiant little smile.) Prosperity is just around the corner!
He goes out of the picture. Lily smiles after him with total confidence.
CLOSE-UP GASTON'S CHAIR Gaston returns, sits, picks up paper, resumes reading.
CLOSE-UP LILY at her paper. Suddenly she stares at something on the page. She leaps to her feet.
LILY Gaston!
CLOSE-UP GASTON He looks up.
CLOSE-UP LILY Paper in hand, followed by camera, she goes to the bureau, opens a drawer, and takes out Mariette's handbag. She looks at the bag, rereads the item in the paper, looks back again.
CLOSE SHOT GASTON Puzzled, he gets up.
CLOSE SHOT LILY Followed by camera, she hastens to Gaston, hands him the paper, points to the item.
LILY Read this.
INSERT A large classified ad with headline: Handbag Lost--Twenty Thousand Francs Reward. Before we can read the rest, camera moves close to the headline. Under the insert, we hear:
LILY'S VOICE The description fits. That's our bag!
CLOSE SHOT LILY AND GASTON Gaston has finished reading.
GASTON Twenty thousand francs ... If we sold it we'd get-- (He takes the bag from Lily, examines it like an expert.) Well, it's worth forty thousand at the most. She paid probably sixty thousand. When we sell it ... I'd say five thousand.
LILY Darling, then let's be honest and return it to the lady.
GASTON And take the twenty thousand francs ...
LILY Right.
GASTON (with sudden emotion) Sweetheart, what day is today?
LILY The fourteenth of May.
GASTON And tomorrow is the fifteenth. And the day after tomorrow--
LILY (not knowing what he wants) The six--
She catches Gaston's eye. Her face lights up. Very tenderly she embraces him.
GASTON We'll go to Venice, to the same hotel!
LILY (romantically) We'll take the Royal Suite!
GASTON Two fifty-three, five--
LILY Seven and nine!
GASTON And we'll celebrate the second anniversary of the day we didn't get married!
LILY Darling!
They kiss. After they have held the embrace a few moments, we hear a knock the door. They look toward the door, hide the handbag instantly.
GASTON Come in.
CLOSE SHOT DOOR Porter comes in, carrying a pair of shoes.
PORTER (putting them on the floor) Your shoes, Professor Bernard.
As he goes
[Their embrace continues. They look at each other dreamily.]
FADE OUT
SEQUENCE D
FADE IN
MARIETTE'S LIVING ROOM MED. SHOT Mariette and an elderly woman who has seen better days. Her clothes, once elegant, now are shabby. She is unwrapping a package as camera moves toward both to a close shot. She takes out a handbag which also seen better days, holds it toward Mariette pathetically. Mariette responds with a kindly look.
MARIETTE No, I'm sorry, but that's not the bag.
WOMAN (restraining a sob) I know it isn't. But it's pretty-- isn't it?
MARIETTE (sympathetic) Very pretty.
We hear phone ring. Mariette, annoyed at the interruption, goes out of the picture.
CLOSE SHOT TELEPHONE TABLE Mariette enters, picks up phone.
MARIETTE Hello ... Yes .. . Where did you find the bag? (Amused.) Where? (Even more amused.) Where? What? (Smiling broadly.) What was in it? (With a change of expression, outraged.) How dare you! (She slams down receiver.)
CLOSE SHOT ELDERLY WOMAN bag in hand, with patient hope.
CLOSE SHOT MARIETTE at phone. Her expression softens. Followed by camera, she goes to woman.
WOMAN You wouldn't have any use for it? (Mariette hesitates.) You see, I have another bag, and I really don't need this. So, if you'd like to buy it ...
Mariette sees tears in the woman's eyes.
MARIETTE (reaching into drawer of nearby table) Would two hundred francs be sufficient?
WOMAN (this is much more than she expected) Yes, madame.
Mariette hands her the money.
WOMAN (overwhelmed) Oh, thank you, madame!
She goes out of picture toward door. Mariette looks after her with compassion, which is broken by the ringing phone. Increasingly annoyed, she goes to phone, newly purchased bag in hand.
CLOSE SHOT TELEPHONE Mariette enters edgily.
MARIETTE Hello ... Yes ...
She tosses handbag out of picture.
ARMCHAIR Bag falls on armchair into an assortment of several other bags. Mariette must have been buying bags for hours.
MARIETTE'S VOICE What? Yes, this is Madame Colet.
CLOSE-UP MARIETTE at the phone
MARIETTE What? Yes, I lost my bag. Yes. Last night at the opera ... No, no, I don't want to buy a piano! (She hangs up angrily.)
LONG SHOT HALL Shooting from the direction of the living room toward the house entrance door. Hall is filled with men and women, some well dressed, some shabby. Some carry packages. Several women hold, each, two "found" bags. One woman carries a crying baby. Butler's voice comes behind the camera.
BUTLER'S VOICE Next, please.
A young Russian Bolshevik, unshaven, with bushy hair, moves toward camera.
LIVING ROOM MED. SHOT at open door. Bolshevik enters, followed by butler, who shuts door behind them as Bolshevik goes to Mariette. During all this, we hear:
MARIETTE'S VOICE No ... No, it was not insured. But right now it's too late.
CLOSE SHOT TELEPHONE
MARIETTE What? (Bolshevik enters.) I may lose it again? But I haven't found it yet! I'm sorry. Goodbye! (She turns toward Bolshevik distracted) Yes?
BOLSHEVIK (heavy Russian accent) So you lost a handbag, madame?
MARIETTE (impatiently) Yes.
BOLSHEVIK And it had diamonds in the back.
MARIETTE Yes.
BOLSHEVIK And diamonds in the front.
MARIETTE Yes.
BOLSHEVIK Diamonds all over.
MARIETTE Well, have you found it?
BOLSHEVIK (screaming) No! (Raising his arm like a prophet.) But let me tell you--any woman who spends a fortune in times like these for a handbag--phooey, phooey, phooey!
Butler enters officiously.
BUTLER (to Bolshevik) I must ask you
BOLSHEVIK (brushing butler aside) And as Trotsky said-- (in Russian) "Any woman who spends a fortune for a silk purse is a sow's ear." (In English.) And that goes for you, too!
CLOSE SHOT DOOR to hall. While Bolshevik is ranting, it opens; Gaston enters briskly with an authoritative air, shuts door behind him.
MARIETTE, BOLSHEVIK, AND BUTLER Mariette is startled; she doesn't know who or what the gentleman is. Bolshevik is frightened. Butler is momentarily nonplussed.
CLOSE SHOT GASTON He steps forward commandingly.
MED. SHOT MARIETTE AND BOLSHEVIK Gaston goes to Bolshevik, puts his arm patronizingly on his shoulder, and tells him politely but emphatically, in Russian, to leave. Bolshevik makes a protesting remark. Gaston tells him vigorously and effectively to scram. Cowed, the Bolshevik goes.
CLOSE SHOT DOOR Butler, recuperated and full of dignity, opens door to the hall. Bolshevik appears, turns to Mariette and Gaston.
BOLSHEVIK (in a final outburst) Phooey! Phooey! And-- (Looking for another word but failing to find it; twice as loud.) Phooey!
Butler shoves him out, follows, shuts door.
CLOSE SHOT Mariette and Gaston. Mariette is more bewildered by Gaston than by the Bolshevik.
GASTON (looking after the departed man) His phooey is worse than his bite. (Turning to Mariette.) I must apologize for entering unannounced. If I am not mistaken, Madame Colet?
MARIETTE Yes...?
GASTON Will you be good enough to look at this bag, madame? (He brings the bag forth, hands it to Mariette.)
MARIETTE (with instant and joyful recognition) That's it! Yes, that's it! ... Jacques!
CLOSE SHOT DOOR It opens and butler enters.
BUTLER Yes, madame?
CLOSE SHOT MARIETTE
MARIETTE Dismiss all the people in the hall. The bag has been found.
BUTLER'S VOICE Very well, madame.
MARIETTE And Jacques. Call up the major and tell him-- No, don't call him. Let him keep on searching! And Jacques-- (Phone rings. Mariette picks up receiver and speaks before the other party can speak.) Sorry--the bag's been found. (She hangs up.) And Jacques--
CLOSE SHOT BUTLER
BUTLER Yes, madame?
CLOSE SHOT MARIETTE
MARIETTE Call Cohen, Cohen, Ginsburg, and Renault. Give my thanks to M'sieu Renault. (In high spirits.) Thank them all!
BUTLER'S VOICE Very well, madame.
We hear door closing. Mariette looks happily at bag, turns to Gaston.
MARIETTE Where did you--
She discovers that Gaston is no longer standing beside her. She looks around.
CLOSE SHOT ANOTHER PART OF THE ROOM A beautiful Chinese vase on a table. Gaston, looking at vase with appraising eye, is absorbed, unaware that Mariette has addressed him.
CLOSE SHOT MARIETTE She goes toward Gaston.
CLOSE SHOT GASTON still studying the vase. Mariette appears. He turns to her.
MARIETTE (happily) Where did you find it?
GASTON You know the main staircase in the opera?
MARIETTE Yes.
GASTON Then you go to the left. There's a landing.
MARIETTE (eagerly) Yes.
GASTON Then you go into the foyer.
MARIETTE Yes.
GASTON And as you leave the foyer, there is a little niche.
MARIETTE I know that niche.
GASTON And in that niche, there is a statue of Venus.
MARIETTE I remember.
GASTON (irrelevantly) You like that statue?
MARIETTE (nonplussed) Not particularly.
GASTON Neither do I. (Without any transition.) That's where I found it.
MARIETTE (naively, not suspicious) I don't know how I could have lost it there. I was nowhere near that niche.
GASTON Oh ... That's strange. Maybe--are you sure this is your bag?
MARIETTE (a little nettled) Of course it is! Are you doubting me?
GASTON (polite but precise) Not in the least, madame. But you see, it's a very expensive bag--one has to be careful.
MARIETTE (half-annoyed, half-laughing, and a little conceited) Well--I am Madame Colet.
GASTON (urbanely) And I am M'sieu Laval--if you will allow me to introduce myself.
Mariette is perplexed. Their relationship has somehow been transformed. She is uncertain. Then she yields.
MARIETTE (With a little laugh; extending her hand) Well--how do you do, M'sieu Laval?
GASTON The pleasure is mine, madame.
He bends over and kisses her hand. Camera goes quickly to a close-up of a beautiful diamond ring. As he kisses the hand Gaston's eye appraises the ring.
STREET IN PARIS François, package under arm, walking. It is apparent that he has purchased the handbag.
LIVING ROOM CLOSE SHOT at table. Gaston has just opened the bag.
GASTON (With the air of an honest man taking inventory) One purse-- (shaking it) empty. One vanity case-- (opening it)
MARIETTE But really, m'sieu, this isn't necessary.
GASTON Please, Madame Colet, I believe in doing things correctly. Shall we continue? (He empties the bag.) Two hairpins, one cigarette lighter, one box of real matches, and-- Oh, yes, this letter from Major--
MARIETTE (quickly) Oh! You didn't read it!
GASTON Naturally I did.
MARIETTE Oh!
GASTON You needn't be embarrassed, madame. A lady as charming as you would, and should, get love letters.
MARIETTE (embarrassed and flattered) M'sieu Laval!
GASTON But one suggestion, madame. (Shaking his head.) Not the major. (Mariette looks startled, as if to say, "How did you know?") I don't mind his grammatical mistakes. I'll overlook his bad punctuation. But the letter has no mystery--no bouquet--no ... (Changing the subject, taking a lipstick out of bag.) And one lipstick ... (Reading markings on bottom; disapproving.) Scarlet number four.
MARIETTE What's wrong now?
GASTON With your skin, I prefer crimson.
MARIETTE (now on a vital theme) Too much blue in crimson.
GASTON That's what you need!
MARIETTE No, no, no! (She sits on couch. He sits beside her.) I disagree with you completely! I tried it once--
GASTON What shade of powder do you use?
MARIETTE Peaches and cream.
GASTON That's too dark.
MARIETTE (fighting for her life) Do you realize I have light eyes?
GASTON But, Madame Colet, that's a matter of eye shadow. I can straighten that out in two seconds.
We hear a knock on the door.
MARIETTE (annoyed at interruption) Come in!
CLOSE-UP DOOR Butler comes in, shuts door quickly behind him.
BUTLER (With a sour expression) The major.
CLOSE SHOT GASTON AND MARIETTE On couch. She makes a gesture of exasperation. So does Gaston. They look at each other helplessly. Then Gaston takes charge. He rises and goes toward butler.
HALL MED. SHOT at living room door. Major stands waiting. Door opens; butler comes out, followed briskly by Gaston.
GASTON (before Major can speak) I'm sorry, m'sieu, but Madame had better not see anyone.
Major stares blankly. He never saw Gaston before.
GASTON You see, the bag has just been found, and the reaction of relief from her former excitement and strain is just a little too much for her. It's not very serious, but just the same we'd better not take any chances.
MAJOR (assuming Gaston is a physician) Just as you say, Doctor.
GASTON Thank you, Major. (Goes back toward living room.)
MAJOR Good day, Doctor.
GASTON Good day, Major.
The camera goes with Major toward entrance door. Major looks crestfallen.
STREET in front of Mariette's house. François, followed by camera, goes to the door, rings bell. Door is opened by butler, and Major comes out, butler remaining in doorway. Major and François stare at each other. Major looks pointedly at François's package. Then Major turns to butler.
MAJOR Jacques, has the bag been found?
BUTLER Yes, Major.
Major turns with bright smile to François, who looks glum and glances instinctively at his package.
MAJOR Is Madame feeling well?
BUTLER No, Major.
Major is still looking at the unhappy François and having the time of life.
MAJOR Is Madame seeing anybody this afternoon, this evening, or even tomorrow?
BUTLER No, Major.
MAJOR You may shut the door, Jacques.
Butler closes door. François, miserable, turns away from Major.
MAJOR Well. that leaves you holding the bag. Goodbye!
Major lifts his hat, goes out of picture to right. François looks after him angrily, then goes out of picture to left.
LIVING ROOM COUCH CLOSE SHOT Gaston and Mariette. There is a moment of silence.
GASTON (rising) Well, I think I'd better be going. Goodbye, Madame Colet.
MARIETTE (rising) Goodbye, M'sieu La-- Oh, yes ... This is a rather delicate matter and I don't want to ... You see, if you read my advertisement carefully, you must have noticed that there was ...
GASTON In other words, madame, it embarrasses you to offer me the twenty thousand francs reward.
MARIETTE Yes.
GASTON Don't be embarrassed, madame. I'll take it. I need the money. I wish I were in a position to ignore the whole matter. But you know, madame, the stock market, bank crash ... To make a long story short--a member of the nouveaux poor.
MARIETTE (looks at him sympathetically) Then I'm glad I lost the bag! I'll write you the check immediately. (Followed by camera, she goes.)
HALL MED. SHOT at staircase. Coming from living room, Mariette goes up the stairs, followed by camera. At first landing, as Mariette reaches door--
GASTON'S VOICE Madame Colet!
MARIETTE (turning) Yes, M'sieu Laval?
GASTON BELOW Shooting down from her angle.
GASTON Do you know my first name?
CLOSE SHOT MARIETTE
MARIETTE No. What is it? Tell me.
CLOSE SHOT GASTON Followed by camera, he runs up stairs. At the landing, he goes close to her.
GASTON (whispering ardently) Gaston!
She looks at him with a confused smile.
GASTON (Still ardently) And do you know what I'd like to have you do with that check?
MARIETTE (softly, curious) What?
GASTON (passionate) Make it out to cash!
MARIETTE As you like. (She opens door and he follows her.)
LONG SHOT PRIVATE OFFICE OF FORMER SECRETARY, WITH GLIMPSE INTO ADJOINING ELEGANT BEDROOM In foreground at desk, is Mariette. In bedroom background, Gaston is seen examining a painting on the wall with the air of a connoisseur. Camera moves to close-up of Mariette. She is opening and shutting drawers.
MARIETTE Now, where can that checkbook be? Oh, dear me, dear me! She must have left it somewhere. It's always the same--when you're looking for something, you can't find it. (She continues mumbling and slamming drawers.)
CLOSE SHOT GASTON at the wall, still admiring the painting. Now he draws painting slightly away from wall and glances behind as if looking for a safe. He allows painting to drop back into place. Followed by camera, he goes on looking around. He stops before window, looks out, studying possible entrances and exits.
CLOSE SHOT MARIETTE at desk, still searching.
MARIETTE I can't find that checkbook. I should have discharged her six months ago! I really don't know what to do. Where can I look now? (Turning to Gaston.) M'sieu Laval, I'm very sorry, but--
She tops short. Gaston is not there. She sees:
DOOR TO FORMER SECRETARY'S BEDROOM It is open.
CLOSE SHOT MARIETTE Followed by camera, she goes to bedroom.
BEDROOM MED. SHOT at open door. Mariette enters, stops.
CLOSE SHOT BED Gaston is studying bed with the eye of a connoisseur.
CLOSE SHOT MARIETTE in doorway. She looks mystified. She moves toward him lightly because:
CLOSE SHOT BED Gaston apparently doesn't know she is in the room. He is still studying bed with scholarly concentration. Mariette enters, stops beside him.
GASTON (with respect for the bed) Eighteenth century.
MARIETTE (getting it; impressed) Yes!
GASTON Early eighteenth century. I should say around--seventeen thirty.
MARIETTE Right!
GASTON (examining headboard) Beautiful specimen.
MARIETTE It is beautiful. But I got a little tired of sleeping in antiques, so I gave it to my secretary.
GASTON (specially interested as he learns this is not Mariette's room) Oh? (He wants to hear more.)
MARIETTE This used to be my secretary's room.
GASTON (with affected nonchalance) I see. (Going very close to headboard, touching woodwork with expert hand.) She must have been very happy here.
MARIETTE (with a smile) Too happy. That's why I discharged her.
GASTON (his eye caught by carving on one of the posts) Isn't that wonderful! (He turns to Mariette.) You see, madame-- (He stops, noticing something on the wall.)
MED. SHOT In the wall is a safe. Camera moves to close-up of safe.
CLOSE SHOT MARIETTE AND GASTON
GASTON (inspired) Let me tell you something, madame, as a man who has had all kinds of secretaries ... I wonder if she put that checkbook in the safe!
MARIETTE I hardly think so. But let's look. (She goes toward safe.)
CLOSE SHOT SAFE Mariette enters, starts turning knob, lips moving silently as she articulates numbers to herself. The camera pans her out and stops before Gaston who is now close behind her, concentrating on the combination.
CLOSE SHOT MARIETTE'S HAND turning knob back and forth.
CLOSE SHOT GASTON'S HAND It is instinctively turning an imaginary knob, following Mariette's pattern.
CLOSE SHOT MARIETTE AND GASTON Mariette opens safe. Gaston takes a swift good look into safe, but acts casual in case Mariette turns around.
MARIETTE (rummaging with her hand) No, no. No, it's not here. (Suddenly.) Oh! What do you think of that? (She brings out two crisp packages of bank notes.) A hundred thousand francs! (With a half-smile.) You know, I didn't have the slightest idea--
GASTON (severely) But, madame, you keep a hundred thousand francs--in your safe--at home?
MARIETTE (worried) You think that's too much?
GASTON (emphatically) No! Not enough! (With the air of a banker.) In times like these, when everything is uncertain, every conservative person should have a substantial part of his fortune within arm's reach.
MARIETTE (nodding with the gravity of a woman accepting her banker's advice) That sounds sensible. (She goes out of the picture, thinking it over.)
CLOSE SHOT LITTLE SETTEE Mariette enters, sits.
MARIETTE Very sensible!
Gaston enters, sits beside her.
GASTON (sternly; an uncle) Madame Colet, I think you deserve a scolding. First, you lose your bag--
MARIETTE (gaily) Then I mislay my checkbook--
GASTON Then you use the wrong lipstick--
MARIETTE (almost laughing) And how I handle my money!
GASTON It's disgraceful!
MARIETTE (with a flirtatious look) Tell me, M'sieu Laval, what else is wrong?
GASTON Everything! ... Madame Colet, if I were your father-- (with a smile) which, fortunately, I am not--
MARIETTE (coquettish) Ye-es?
GASTON And you made any attempt to handle your own business affairs, I would give you a good spanking--in a business way, of course.
MARIETTE (complete change of expression; businesslike) What would you do if you were my secretary?
GASTON The same thing.
MARIETTE You're hired!
FADE OUT
SEQUENCE E
FADE IN
BOARD OF DIRECTORS ROOM Camera moves along the table in close shots of members of the board. An excited murmur runs along the table. Camera stops in front of M. Giron, the chairman, who is talking to the man beside him. Now he turns to opposite end of table, rises.
GIRON Speaking for the board of directors as well as myself, if you insist, in times like these, on cutting the fees of the board of directors, then we resign.
CLOSE SHOT GASTON at opposite end. He gets up with an air of authority.
GASTON Speaking for Madame Colet as well as myself--resign!
CLOSE-UP GIRON
GIRON (haughtily) Very well! (He hesitates.) We'll think it over, M'sieu Laval!
DISSOLVE TO:
INSURANCE OFFICE CLOSE SHOT of insurance agent at his desk. He is looking over Mme. Colet's policies.
AGENT Now, M'sieu Laval, as for Madame Colet's life insurance, it totals one million francs. There is five hundred thousand fire insurance and four hundred thousand against burglary.
CLOSE-UP GASTON in a different suit. He begins to calculate with his fingers and murmurs figures.
GASTON (after a moment) Then we'd better increase the burglary insurance to eight hundred and fifty thousand francs.
CLOSE-UP AGENT
AGENT (happily; with a little bow) Thank you, M'sieu Laval!
CLOSE-UP COOK in the kitchen. Big, fat, motherly looking.
COOK No potatoes, M'sieu Laval?
CLOSE-UP GASTON In still another suit. He is standing, looking stern.
GASTON No potatoes!
CLOSE-UP COOK
COOK Yes, M'sieu Laval.
QUICK DISSOLVE TO:
CLOSE-UP BUTLER in hall.
BUTLER (answering a question) No, M'sieu Laval!
DISSOLVE TO:
CLOSE-UP A fluffy, pretty little maid in Gaston's bedroom, holding a duster.
MAID (playing naughty) Maybe, M'sieu Laval!
DISSOLVE TO:
GYMNASIUM CLOSE SHOT of Mariette's feet and legs in gymnasium outfit, shooting down on an angle. Feet rise and camera follows movement arc-wise, comes to rest on Mariette's face.
MARIETTE (holding the position) Is this what you mean, M'sieu Laval?
CLOSE SHOT GASTON erect in sweater, arms folded.
GASTON Absolutely, Madame Colet.
DISSOLVE TO:
CORRIDOR CLOSE SHOT Gaston in doorway to his office. Evening; lights are on. He wears a dark business suit.
MARIETTE'S VOICE (coaxingly) Now, M'sieu Laval, please!
GASTON Frankly, madame, I'm too tired.
UPPER STAIRCASE from Gaston's viewpoint. Mariette, in evening dress, is near landing. From downstairs, the music of a tango and laughter of guests.
MARIETTE Don't you want to come down and join the party? Just a little tango --no? Oh, you with your messy old papers and contracts and money-money -money--all those uninteresting things!
CLOSE SHOT GASTON in doorway.
GASTON They're very interesting to me, madame. And somebody in this house should worry about money. No, madame, really, I have to be up early in the morning.
DISSOLVE TO:
OFFICE CLOSE SHOT NEXT MORNING of Gaston at window, walking up and down dictating, followed by camera. We hear click of a typewriter.
GASTON New paragraph. Furthermore, it is Madame's wish--
CLOSE SHOT SECRETARY Typing away at an appropriate desk is none other than our Lily. She is demure in a little blouse and skirt.
GASTON'S VOICE --that while half of the interest shall be deposited as usual in Madame's account--
CLOSE SHOT GASTON
GASTON --the other half, contrary to custom, shall be delivered in cash into Madame's personal custody. (Followed by camera, he goes to Lily and takes her in his arms.) Darling, that means that on the second of June we'll have eight hundred and fifty thousand francs.
LILY (ecstatically) And her jewelry is worth a fortune!
GASTON No jewelry! Hands off jewelry! If we're broke--all right. I might pick up a million-franc necklace. But in times like these when we're doing a cash business--why take a chance on jewelry?
Lily gets up, goes to him.
LILY (the way a wife talks to a husband when she wants something special) I know you're awfully busy, and I don't like to trouble you. But she has one little necklace--you know, that one with the seed pearls? It's so quiet and simple. It would go just beautifully with my neck.
Gaston takes her in his arms, moved. They kiss. There is a knock at the door. They leap into employer and employee positions.
GASTON Come in!
DOOR Butler enters.
BUTLER M'sieu Laval, Madame would like to talk to Mademoiselle Gautier for a moment.
CLOSE SHOT GASTON AND LILY
GASTON Very well, Jacques.
We hear door close as butler goes. Lily turns to Gaston. He looks her over, straightens her hair a little, then pulls the zipper on her blouse high up to the neck.
DISSOLVE TO:
MARIETTE'S BEDROOM CLOSE SHOT Mariette in bed. Breakfast table. She is reading a magazine. Knock on door.
MARIETTE (putting down magazine) Come in.
DOOR CLOSE SHOT Lily enters. She is now wearing glasses. (Under no circumstances shall her appearance be exaggerated. Lily is playing the part of a modest, polite little secretary.)
LILY Good morning, madame.
CLOSE SHOT MARIETTE
MARIETTE Good morning, mademoiselle. (She makes a gesture inviting Lily to come closer.)
CLOSE SHOT LILY She approaches Mariette.
CLOSE SHOT MARIETTE in bed. Lily enters.
MARIETTE (indicating a chair) Please.
LILY Thank you.
Lily sits on a small chair by the bed. Breakfast table is between them.
MARIETTE (busy at the breakfast tray) You've had your breakfast--oh, but of course you have.
LILY Yes, madame. You see, I have to get up very early. (Chattering.) My little brother goes to school-- (With controlled pathos.) You see, Mother is dead.
MARIETTE (pouring her own coffee; making conversation) Yes, that's the trouble with mothers. First you get to like them and then they die.
Lily nods sad agreement. Her glance drops to the floor.
INSERT of a diamond ring on floor by bed.
CLOSE SHOT LILY She looks at ring with undisguised desire for an instant. Then she reaches for it.
INSERT Lily's hand lifts ring from floor.
CLOSE SHOT MARIETTE AND LILY Seeing that she has been observed, Lily hands ring to Mariette.
MARIETTE Oh, thanks.
With indifference she throws it over toward night table on the other side of the bed.
NIGHT TABLE A little jewel box, open. The ring falls in.
CLOSE SHOT LILY She looks toward the jewel box with regret, fingers itching. She pulls herself together and sits on her hands.
CLOSE SHOT MARIETTE AND LILY Mariette is just about to reach for the cream. Lily, quick and polite, takes the cream pitcher and pours for Mariette.
MARIETTE Thank you! ... Now, mademoiselle, the reason I asked you to come--
LILY Two lumps, madame?
MARIETTE Please! (Lily puts sugar in coffee.) Thank you.
LILY (taking a spoon) May I?
Mariette nods graciously. Lily stirs the coffee. Then she sits and resolutely puts her hands under again.
CLOSE SHOT MARIETTE She lifts cup, sips coffee. She looks over at Lily.
CLOSE-UP LILY Looking downward modestly.
CLOSE-UP MARIETTE She watches Lily a moment to make sure she is not looking. Then she dunks a roll in the coffee and takes a quick bite.
CLOSE SHOT MARIETTE AND LILY
MARIETTE Now, Mademoiselle Gautier--
LILY Yes, madame?
MARIETTE You see-- (She has just picked up some potato a la Julienne --thinly shredded, noodle-like and crisp--on her fork. Then she speaks furtively as she suddenly remembers.) Oh, not a word to M'sieu Laval!
LILY About what?
MARIETTE (almost in a whisper) Potatoes. He doesn't want me to eat them-- (with a little laugh) and naturally I don't want to upset him.
LILY (with a poisonous little giggle) Naturally not!
Slowly her giggle dies out, and she looks at Mariette with sly contempt.
MARIETTE Now. Uh--mademoiselle--in the short time you have been M'sieu Laval's secretary, have you noticed any change in him?
LILY (on guard) Well--uh--yes and no.
MARIETTE To me he seems rather nervous.
LILY Nervous? (She takes a chance.) Um-hum. He smokes too much!
MARIETTE No, he works too much. (Lily nods with great relief.) He's chained to his desk. Too much detail. Now, if you could take over some of his work--
LILY (with deadly sweetness) So he wouldn't be confined so much to his office--
MARIETTE (innocently pleased) Yes! And he would have a little more time for--
LILY For all the really important things--
MARIETTE Right!
LILY (rising) I'll do my best, madame, even if I have to work every night.
MARIETTE (frightened) Oh, no, no, no, no, my dear child! That's ridiculous. You go home as usual--five o'clock every day. Now I'm going to be a little bit of a tyrant--I insist. It'll be nice for your little brother, too. Five o'clock--remember!
LILY Very well, madame. Thank you. (She starts to leave.)
CLOSE SHOT DOOR Lily opens door.
MARIETTE'S VOICE And, my dear--
LILY (turns) Yes, madame?
CLOSE SHOT MARIETTE
MARIETTE How much is your salary?
CLOSE SHOT LILY in doorway.
LILY Three hundred francs.
CLOSE SHOT MARIETTE
MARIETTE Well, in times like these most people are cutting salaries, but suppose we say, in your case, three hundred and fifty?
CLOSE SHOT LILY
LILY Oh, madame, you're just too sweet for words! (She goes, shutting door.)
MED. SHOT OFFICE close to door. Gaston is pacing up and down. Lily enters, quickly closes door behind her. She takes off her glasses. She is seething.
GASTON Well, what does she want?
LILY (bitterly) You! And she's willing to pay as high as fifty francs!
GASTON What?
LILY (violently) But it's not enough!
MARIETTE'S BEDROOM CLOSE SHOT Mariette, still in bed, talking into phone.
MARIETTE Now, François, don't be silly. I have nothing against you ... Oh, no, that's all forgotten ... What? ... Not this week, François ... (Happily.) Business, François, business!
OFFICE MED. SHOT which during the scene moves to a closer shot of Gaston and Lily. As we pick them up both are pacing up and down at the height of unpleasantness.
GASTON You're talking like a child. You know exactly what we're here for and what it's all about.
LILY (stopping) This woman has more than jewelry.
GASTON (dismissing it) Ah!
LILY Did you ever take a good look at her--uh--
GASTON Certainly!
LILY They're all right, aren't they?
GASTON Beautiful. And what of it? (Going close to Lily; with conviction) Let me tell you something: so far as I'm concerned, her whole sex appeal is in that safe!
LILY (looks at him a moment; suddenly fearful) Gaston. Let's open it--right now! Let's get away from here! (With great unhappiness; holding back her tears.) I don't like this place!
GASTON (taking her in his arms) Oh, no, darling. There's more sex appeal coming on the first of the month. It's only ten days ... (Rolling it on his tongue.) Eight hundred and fifty thousand francs.
LILY (clinging to him) Darling, remember you're Gaston Monescu. You're a crook. I want you as a crook. I love you as a crook. I worship you as a crook. Steal, swindle, rob--but don't become one of those useless, good-for-nothing gigolos!
FADE OUT
SEQUENCE F
FADE IN
OFFICE CLOSE SHOT of clock on desk. It is 5 P.M. We hear five chimes. Against this shot of clock:
LILY'S VOICE Good night, Gaston darling.
GASTON'S VOICE Good night, sweetheart.
We hear sound of a kiss.
LILY'S VOICE Well, I leave you alone with that lady--but if you behave like a gentleman-- (Slowly.) I'll break your neck! (With tenderness.) Goodbye, darling!
We hear door open, close, and the sounds of Gaston returning from the door, humming.
DISSOLVE TO:
CLOSE-UP SAME CLOCK, SAME ANGLE It reads 5:12. We hear a knock at the door.
GASTON'S VOICE Come in.
Sound of the door opening.
MARIETTE'S VOICE (pretending surprise at not seeing Lily) Oh, M'sieu Laval ...
GASTON'S VOICE Yes, Madame Colet?
MARIETTE'S VOICE Has Mademoiselle Gautier gone?
GASTON'S VOICE Yes--uh--
MARIETTE'S VOICE (With feigned regret) Oh, that's too bad. You see, I wanted her to do something. Well, I guess I'll have to do it myself.
GASTON'S VOICE What is it, madame?
MARIETTE'S VOICE I wanted to ask her to ask you if you'd be good enough to go out to dinner with me tonight.
We hear her laugh. He joins her. As the laugh gets louder we
DISSOLVE TO:
CLOSE-UP SAME CLOCK Five past nine. Light is different, room being almost in darkness. We hear phone ring several times. Nobody answers.
DISSOLVE TO:
CLOSE-UP SAME CLOCK Ten to eleven. So dark that we can barely see the hands. From outside, faint voices. We hear door open, and a bar of light falls across clock.
GASTON'S VOICE Good night, Madame Colet. And let me tell you again--you dance like a dream.
MARIETTE'S VOICE (coyly) Oh, no, it's the way you lead.
GASTON'S VOICE No, madame, it's the way you follow.
MARIETTE'S VOICE No, m'sieu!
GASTON'S VOICE Yes, madame!
MARIETTE'S VOICE Well, the evening is still young. Let's go down to the living room and talk it over. (Cheating by an hour.) It's only ten o'clock.
She laughs. He apparently joins her again.
DISSOLVE TO:
LIVING ROOM CLOSE-UP of a different, more decorative clock on mantel. Hands stand at eleven. As clock strikes eleven, with dainty, rapid chimes, pan along one side, following mantel, until clock is out of picture, and we see two half-empty champagne glasses.
DISSOLVE TO:
CLOSE SHOT WINDOW Open window frames a view of garden. Foreground is dark. Above trees, a church steeple with a clock large enough so that we can read the time. It is twelve. As we hear, in splendid tones and a slower rhythm, the tolling of midnight, pan over to the side. Steeple is out of picture and full moon comes in.
DISSOLVE TO:
HALL UPPER END OF STAIRS Close shot of hall clock near Mariette's bedroom door. Hands indicate the hour of two, and deep tones strike the hour. Apparently there is only a dim light. Camera pans to door of Mariette's bedroom. In half-open doorway stands Mariette, evening dress, looking toward office door, eyes languorous.
MARIETTE (reluctantly) Good night, M'sieu Laval.
CLOSE SHOT OFFICE DOOR In half-open doorway stands Gaston, white tie and tails.
GASTON (low tone) Good night, Madame Colet.
MED. SHOT HALL At one end, at her open bedroom door, is Mariette. At other end, as we have seen, is Gaston. They look at each other for a vibrant moment.
MARIETTE (since nothing happens; sadly) Good night.
GASTON (also sad) Good night.
Mariette goes into her room, closes door. Gaston stands a moment in his doorway, undecided. Then, with a decisive air, he goes halfway toward Mariette's door. He stops abruptly at the one light, a lamp on the wall. He turns it out. Then he goes back to his office-bedroom slowly. Camera moves closer to him and up to his door. He goes in, shuts door, and we hear the lock click from inside. Camera pans quickly to Mariette's door. We hear similar click.
FADE OUT
SEQUENCE G
FADE IN
LIVING ROOM A large window, consisting of four or five framed units, fronts on a terraced garden in which a small informal party is underway.
Close shot of the first frame, showing part of garden and terrace. Windows are shut; we cannot hear what is going on. Beyond window, on terrace: a group of society people, teacups, butler serving cakes from tray. Mariette comes from garden to join group, a cordial hostess As she moves her eye is caught elsewhere.
CAMERA PANS QUICKLY to the last window frame, following her glance, and stops before Gaston and two very attractive young ladies who seem delighted at what he is saying. Mariette comes quickly into the picture and, pretending she wants to introduce him to someone else, takes Gaston from his dangerous companions.
CAMERA MOVES back along window with them. As soon as the two young ladies are out of the picture, Mariette brings Gaston intimately close toward window and camera. (Assumption is that living room is empty and no one can see them from behind camera.) Charmingly and with a twinkle in her eye, she reprimands him, in a guarded whisper, about flirting. He answers and apparently says something that makes her laugh, disarming her. With a sudden return to party manner, she moves with him along the framed windows. Camera goes with them as she introduces him to a few little groups. By this time, they are back in the first window frame, and now they move out of picture.
CAMERA CONTINUES past window and discloses inside corner of living room. In a chair, sitting stiffly as if in a waiting room, is M. Giron, the chairman of the board, briefcase on knees, flower in buttonhole. He seems in a bad mood--apparently the financial cut hasn't agreed with him. We hear a door opening.
BUTLER'S VOICE M'sieu Giron, Madame will be with you presently.
GIRON Very well, Jacques.
We hear door closing. Giron, irritated, gets up and, followed by camera, goes toward the window.
TERRACE CLOSE SHOT at window shooting into living room. Giron comes toward window and looks into garden. His face gets stern and angry as he sees:
GARDEN CLOSE SHOT Giron's view, of Gaston and the major, animatedly conversing. Camera angle must be so that Gaston is more prominent, thus giving impression that Giron's attention is focused on Gaston.
GASTON No, no, my dear Major. There's a limit to what you can do with infantry. If have you the proper artillery backing, I would say-- maybe.
TERRACE CLOSE SHOT toward window. Behind window stands Giron, muttering imprecations under his breath.
CLOSE SHOT MAJOR AND GASTON
MAJOR No, no, no! I disagree with you absolutely. That's the trouble with you artillery men.
GASTON Now just a minute, Major--
MAJOR No, Captain, I tell you--
Mariette comes into the picture.
MARIETTE Now, Major, you mustn't monopolize M'sieu Laval. (To Gaston.) Please! (She leads Gaston away, camera with them. They stop before another group. She introduces Gaston.) May I present M'sieu Laval? Madame Chotard, Madame Leconte, Madame Poncelet. (Camera moves with them to a lady and a gentleman.) Madame Rudaux, M'sieu Legrand-- M'sieu Laval. (They move to François and a lady.) M'sieu Laval--Madame Boucher. M'sieu Filiba. (François bows, not recognizing Gaston. Camera moves along with them to others.) M'sieu Laval--Madame Jeantaud, M'sieu Gentil.
Gaston, his back to camera, bows politely; then suddenly-- a second "take"--he looks over his shoulder toward François. It is apparent he has recognized François. Mariette moves Gaston along.
CLOSE SHOT FRANÇOIS AND LADY
LADY That's that M'sieu Laval.
FRANÇOIS Laval? Who is M'sieu Laval?
LADY I don't know. She says he's her secretary.
François turns and looks searchingly at Gaston, who has paused with Mariette at another group.
FRANÇOIS Oh? ... So!
LADY And he says he is her secretary. Maybe I'm wrong--maybe he is her secretary. (She laughs cynically.)
CLOSE SHOT GASTON Mariette has apparently left the last group, and he remains. The others, at the moment, are busy with tea and cakes; no one talks. Gaston, back to camera, steals another look over his shoulder at François.
CLOSE SHOT FRANÇOIS from Gaston's viewpoint. He is staring at this new and dubious figure in Mariette's life--Gaston.
CLOSE SHOT GASTON with the group. He sees that François is staring at him, becomes a little uncomfortable. With sudden decision, he turns to the group.
GASTON Excuse me, please.
Followed by camera, he steps over to François. Camera stops in a close shot on Gaston, François, and lady. Gaston bows to lady, faces François.
GASTON Pardon me, m'sieu, but I have the feeling we have met somewhere before.
FRANÇOIS (snobbish, polite) I'm sorry, but I don't seem to recall the occasion. No, I'm afraid ...
GASTON (courteously) Well--then it must be my mistake. (Bowing.) I beg your pardon.
He smiles, ignoring the snub, as François stands with frozen superiority. Gaston goes. François looks after him.
FRANÇOIS (to the lady) That man never met me, and he knows it. Trying to make social connections!
LIVING ROOM MARIETTE AND GIRON On a table is a pile of business papers and an empty briefcase. Giron has fountain pen in his hand, ready to turn it over to Mariette for signature.
MARIETTE (With a despairing little laugh) But my dear M'sieu Giron, I'm having a tea party. Must I be bothered with all these papers now?
GIRON I'm sorry, madame, but there are still certain matters which I think you should attend to yourself. And I, personally, would not care to refer them to--to-- (He hesitates.)
MARIETTE To M'sieu Laval?
Giron doesn't answer. There is a pause.
GIRON (With dignity) Madame Colet, I've enjoyed the confidence of your family for more than forty years. (With great feeling.) I was a school friend of your husband's ...
MARIETTE (looking at his white hair, which tells the whole story of her marriage; grimly) I know!
GIRON Madame, let me ask you: Who is M'sieu Laval, anyhow? Where does he come from? What is he?
MARIETTE (crisply) He is my secretary! I hope that answers all your questions, M'sieu Giron.
GIRON (after a pause) You know what Paris is saying about the Countess Falconier and her chauffeur?
MARIETTE (outraged--furious, then icy; turning to door) Jacques!
CLOSE SHOT DOOR It opens; butler enters.
BUTLER Yes, madame?
CLOSE SHOT MARIETTE AND GIRON
MARIETTE Ask M'sieu Laval if he will be good enough to come in.
BUTLER'S VOICE Very well, madame.
We hear the door closing.
GARDEN CLOSE SHOT of lady and François at a table. François is very fidgety.
LADY Now, please. Please calm yourself!
FRANÇOIS I'm like that--I can't help it! I know I never met that man, and yet-- (Looking in Gaston's direction.) Laval, Laval ... You know, if I like a man, I remember him. And if I don't like a man, I never forget him. In a nutshell, madame, it's little things like that that drive me crazy! Excuse me! (He gets up and walks out of the picture.)
CLOSE SHOT GASTON in garden. He is about to join another group when François stops him.
FRANÇOIS M'sieu Laval ...
GASTON Yes, M'sieu Filiba?
FRANÇOIS You see-- (He stops to look Gaston over from all angles, tortured with uncertainty. Shaking his head and smiling.) No, no! And yet-- (He looks at Gaston intently again.) Did I--did--now where could we have--
They are interrupted by entrance of butler.
BUTLER (to Gaston) Pardon me, m'sieu. Madame Colet would like to see you in the living room.
GASTON At once, Jacques. (To François.) We'll continue later.
He goes. François now has jealousy added to his confused suspicion. As he glares after Gaston the major enters.
MAJOR Now see here, my good man, let's face the facts. I'm having a dinner party, and one man turned me down at the last minute. (Very cutting.) Have you a dinner jacket? (François stiffens.)
MED. SHOT LIVING ROOM Giron and Mariette. The situation is tense. Gaston enters.
GASTON (With a bow) Madame.
MARIETTE Will you be good enough to run through these papers with M'sieu Giron?
GASTON I'll be delighted.
MARIETTE (to Giron, sharply) And so will M'sieu Giron.
Giron bows. Mariette turns.
LIVING ROOM DOOR Mariette goes out.
CLOSE SHOT GIRON AND GASTON For a moment the men eye each other. Gaston smiles, but Giron maintains a frigid face. Gaston calmly takes the papers, sits, and starts to go over the figures.
GIRON M'sieu Laval, there are several things I've wanted to ask you for quite a while. I understand you are from Marseilles.
GASTON (pretending to be absorbed in the figures; absently) Um-hum ...
GIRON (persistently) You must be related to the Lavals of Marseilles.
GASTON (With pretense of being mildly distracted) Just a second.
He goes over the papers even more thoroughly, turns several pages, then turns back, apparently comparing items, muttering figures to himself.
GIRON (sarcastically) I hope you find the figures correct.
GASTON (pointedly) I hope so, too.
GIRON (with indignation) M'sieu Laval, I have enjoyed the confidence of this family--
GASTON (not looking up) For more than forty years. So Madame told me.
GIRON (change of tone; very deliberately) And I have known the Lavals of Marseilles for more than thirty years.
CLOSE SHOT GASTON Deaf to Giron, concentrating on figures, he turns absently to the window and suddenly comes awake, for he sees:
CLOSE SHOT WINDOW Gaston's viewpoint. Outside window, on terrace, stands François. He is staring at Gaston as if to say, "Where did I see him?"
BIG CLOSE-UP GASTON He smiles cordially at François.
CLOSE SHOT FRANÇOIS through window. He begins to smile, then shakes head as if saying, "No, that's not the fellow." He goes out of the picture.
CLOSE SHOT GASTON AND GIRON Gaston still smiling toward window. Now he turns back to the papers and begins muttering more figures.
GIRON (in a cutting voice) M'sieu Laval, you seem to be avoiding my questions.
GASTON And you, M'sieu Giron, seem to be disturbing my examination of this report.
GIRON Examination! M'sieu Laval, what are you insinuating? I have enjoyed the confidence of this family for more than forty years. How long have you enjoyed Madame's confidence? Three weeks, I believe.
GASTON (coolly) Two weeks and three days.
GIRON (nastily) Um-hum!
GASTON (very softly) Are you insinuating anything, M'sieu Giron?
GIRON (With equal softness and a sudden smile) No, not at all!
GASTON (beaming) Well, that's fine. Then you are not insinuating that I am avoiding questions. And I am not insinuating that you won't let me examine this report.
GIRON (continuing the friendly note; with an innocent chuckle) I was only asking if you are related to the Lavals of Marseilles.
GASTON (even more friendly) And I was only asking you if you would let me examine your report without interruption.
GIRON (like a man about to make a new friend) I don't see why any man should get excited when he is asked about his hometown.
GASTON And I don't see any reason for any man getting nervous when somebody checks over the figures of his report.
GIRON (sudden change; enraged) Are you insinuating that this is not an honest report?
GASTON (With vigor) I am only insinuating that you are nervous.
GIRON (furious) Nervous! Why should I be nervous?
GASTON (With deadly sincerity) I don't know, M'sieu Giron!
Outraged, Giron picks up the batch of papers, shakes it in Gaston's face.
GIRON Are you trying to say that there is anything in these figures to make me nervous?
Gaston pauses, and we see his suspicion has become a certainty.
GASTON (with a quiet smile) No, not at all.
With quick, casual movement, Gaston takes the report from Giron's hand, drops it in desk, locks desk, and puts key in his pocket. Giron is speechless, frightened to his heels.
GASTON (getting up; amiably) We'll keep these papers here. (Taking Giron by the arm, he leads him toward door. Camera follows them from behind.) And tomorrow morning I'll drop in at your office, and I'll tell you all about the Lavals of Marseilles. (Giron looks back over his shoulder toward the desk in a panic.) And there won't be any tea party to interrupt us!
They reach the door. He escorts Giron out, follows, closes the door.
GARDEN CLOSE SHOT at a table. On table is an ashtray. François is sitting by table, an unlighted cigarette in his hand, very thoughtful, still trying to place Gaston. He puts cigarette in his mouth, takes a match from ashtray, which is equipped with matchbox. He lights cigarette and suddenly looks at ashtray.
CLOSE SHOT ASHTRAY It is made in the shape of a gondola.
CLOSE-UP FRANÇOIS staring at the gondola. We see that his mind is grappling, trying to connect gondola, Venice, and Gaston. He rises, brain working.
MED. SHOT DOOR IN ENTRANCE HALL In the half-open doorway stands Gaston.
GASTON (out toward street) Goodbye, M'sieu Giron!
He shuts door quickly and goes out of picture toward stairway.
LONG SHOT STAIRWAY Gaston runs quickly up.
MED. SHOT OFFICE at the door. Gaston opens door, enters, closes it quickly with great excitement.
CLOSE SHOT DESK Lily is typing. She is startled at Gaston's sudden entrance and gets up.
CLOSE SHOT GASTON at door. Followed by camera, he goes to Lily.
GASTON Do you know who is here? (There is a knock on the door. Lily goes quickly back to typewriter.) Come in!
CLOSE SHOT DOOR Butler opens.
BUTLER M'sieu Laval, M'sieu Filiba would like very much to see you.
CLOSE SHOT LILY AND GASTON
GASTON In a moment.
We hear door shut. Lily gets up, puzzled. The name sounds slightly familiar to her.
LILY Filiba ...
GASTON Yes--Filiba! Venice--Grand Hotel-- room two fifty-three--
LILY (it dawns on her) Five, seven, and nine--
GASTON Yes! (With swift reassurance.) Now don't worry!
Followed by camera, he hastens out, closing door behind him.
LONG SHOT STAIRWAY Gaston comes quickly down, goes out toward entrance door.
ENTRANCE HALL CLOSE SHOT of François, waiting, hat in hand, ready to leave. Gaston enters.
FRANÇOIS I wanted to say goodbye to you.
GASTON (quickly) Goodbye, M'sieu Filiba. (He starts away. François stops him.)
FRANÇOIS But before I say goodbye I want to ask you one question: Have you ever been in Venice?
GASTON No.
FRANÇOIS You've never been in Venice?
GASTON No ... (Suddenly.) Have you ever been in Vienna?
FRANÇOIS (taken aback) No.
GASTON Amsterdam?
FRANÇOIS No.
GASTON Constantinople?
FRANÇOIS No.
GASTON (with astonishment) You've never been in Constantinople?
FRANÇOIS No!
GASTON But you have been in Venice?
FRANÇOIS Yes!
GASTON Let me tell you, Venice can't compare with Constantinople.
FRANÇOIS But--
GASTON I don't care what you say! In Constantinople at least you have streets, sultans, pashas--
FRANÇOIS (up a new alley; with a new, naughty interest) And harems ... ?
GASTON All kinds.
François leans over and whispers a question. Gaston nods vigorously, then leans over and whispers in François's ear. François's eyes get bigger and bigger. The two men look at each other with a big smile. François extends his hand.
FRANÇOIS (as they shake; almost singing) Well--Con-stan-ti-nople!
Followed by camera, François goes toward street door, opens it, then stops and turns around. His face suddenly sobers. He looks at Gaston.
CLOSE SHOT GASTON at foot of staircase. He bows smilingly to François.
CLOSE SHOT DOORWAY François looks searchingly at Gaston for a long moment, then turns and departs, still puzzled.
MED. SHOT GASTON Once door is shut, there is a swift change on his face. He turns and dashes upstairs.
OFFICE CLOSE SHOT at door. Gaston enters and, followed by camera, goes swiftly to desk, past Lily, who stands fearful and ready for action, straight to the phone.
GASTON Éysée seven, eight, nine, two. (To Lily.) We have to clear out. (Into phone.) Railroad station? Ticket office, please.
LILY (excitedly) He recognized you!
GASTON No--not yet--but-- (Into phone.) Two tickets to Berlin--first class and sleeper--night train ... Right ... Right ... Leave them in the name of--Don Ignacio Fernandez ... Right ... Thank you. (Hangs up.)
LILY (who already has got at a telephone directory) Spanish passports?
GASTON Correct. Now the train leaves--
LILY At twelve twenty. I know. (She grabs phone.) Lyons two, four, seven, one. (Hand over mouthpiece.) Two more days and we'd have seven hundred and fifty thousand francs more!
GASTON Well, we'll have to take what's here. A bird in hand is worth two in jail.
LILY (into phone) Hello ... Is this the Spanish consulate? This is Doña Ignacio Fernandez. (In Spanish.) My husband and I are leaving tonight for Berlin ... Is it too late to get a visa this afternoon ... ? Thank you, thank you. (She hangs up. To Gaston; in English.) How long will it take you?
GASTON I don't know. Fortunately, she has a dinner engagement tonight. I'll meet you at the station--midnight. (Lily hastens out. Phone rings. Gaston answers.) Hello ... Yes? What? ... You found a handbag? Well, you're three weeks too late! (He hangs up. Lily swiftly returns, wearing hat and jacket.)
LILY Well, see you at the Berlin Express.
GASTON By the way, how is your German?
LILY Grossartig--kolossal!
GASTON Also, um zwoelf Uhr.
LILY Am Berliner Zug.
GASTON Auf wiedersehn.
LILY Auf wiedersehn.
A quick kiss. She speeds out.
GASTON (into phone) Marchand two, nine, one, one ... Hello ... Is this the Petit Flower Shop? This is Don Ignacio Fernandez. I'd like you to take five dozen roses--deep red roses--and I'd like you to put them in a basket and send the basket tomorrow morning to Madame Mariette Colet. The Madame Colet ... Yes ... You have the address? ... Good! And attach a card: "In memory of the late M'sieu Laval" . . Tomorrow morning--ten o'clock .. . Yes. [What? ... Charge it to Madame Colet. Yes.] Thank you.
FADE OUT
SEQUENCE H
FADE IN
DINING ROOM MAJOR'S APARTMENT Table is for twenty-four people. Butler at table. Major enters, half-dressed: tuxedo trousers, stiff shirt without collar, dressing gown. Butler gives him the place cards, already stacked in order. Major puts first card at head of table. As he does:
INSERT TABLE Major's hand puts down card reading Major.
CLOSE SHOT MAJOR Looks at second place card, smiles, puts it at next place. As he does:
INSERT TABLE Major's hand puts down card reading Madame Colet.
CLOSE SHOT MAJOR Looks at next card. Smile disappears. He gives butler a reproving look. Followed by camera, he goes with the card to other end of the table.
INSERT TABLE Major's hand puts down card reading M. François Filiba.
DISSOLVE TO:
FRANÇOIS'S BATHROOM François, in underwear, shaving brush in one hand and safety razor in the other, sitting on edge of bathtub, still trying to figure out where he saw Gaston.
DISSOLVE TO:
STAIRCASE MARIETTE'S HOUSE MED. SHOT at door to her bedroom. Mariette, in evening gown and wrap, comes out. About to go downstairs, she stops. Followed by camera, she goes to office door, knocks. Door opens, and Gaston appears.
GASTON Yes, madame?
MARIETTE (very charming) What are you going to do with my day tomorrow, M'sieu Laval?
GASTON (looks at her a moment with real feeling, knowing he is saying goodbye) Well, we'll have breakfast in the garden.
MARIETTE (nodding) Um-hum ...
GASTON Then riding together.
MARIETTE (nodding) Um-hum ...
GASTON Then lunch in the Bois--
MARIETTE Together.
GASTON Then a little nap--
MARIETTE (restrains an automatic "together" and smiles, a bit embarrassed) How do you like my dress?
GASTON (meaning it) Beautiful.
MARIETTE (seductively) Hair?
GASTON Marvelous.
MARIETTE (closer; softly) Lipstick?
Gaston leans to inspect her mouth; any moment they might kiss.
GASTON Crimson!
MARIETTE (Still softer) Correct! (After a slight pause; extending her hand.) Good night.
GASTON (taking hand; slowly) Good night. (He kisses her hand.)
MARIETTE (without withdrawing hand) Good night.
GASTON (slowly letting hand drop; in a slightly different voice) Goodbye.
He remains in doorway looking after her as, followed by camera, she goes to the staircase. When she is down a few steps:
GASTON'S VOICE Madame.
MARIETTE (pausing on steps) Yes?
CLOSE SHOT GASTON in office doorway.
GASTON Are you staying out late?
STAIRCASE from Gaston's view. Big close-up of Mariette. She looks at him with eagerness, thinking he has amorous designs.
CLOSE-UP GASTON He sees she misunderstood, is a little embarrassed.
STAIRCASE Close-up of Mariette. She misinterprets his embarrassment.
MARIETTE Why do you ask?
CLOSE-UP GASTON He cannot tell the truth and is so truly smitten that he hates to lead her on.
CLOSE-UP MARIETTE convinced he is shyly in love with her and needs assistance.
MARIETTE (repeats softly) Why do you ask, M'sieu Laval?
CLOSE SHOT GASTON
GASTON (with a helpless smile) Do I have to answer?
CLOSE-UP MARIETTE Her lips form the inaudible whispered answer.
MARIETTE (soundlessly) No!
CLOSE SHOT GASTON in doorway. He bows, returns into office; door shuts.
CLOSE SHOT MARIETTE Looks after him an instant, then, followed by camera, goes slowly downstairs, very happy; her love affair is coming to a head. She stops. On impulse, she turns and, followed by camera, goes quickly up stairs to his office and enters, closing door behind her.
DISSOLVE TO:
LILY'S HOTEL ROOM Lily is packing--Gaston's clothes and her own. She gaily hums a well-known Spanish fandango.
LONG SHOT UPPER STAIRCASE Mariette's home, including office door and door to Mariette's bedroom. Butler comes up stairs, goes to Mariette's door, knocks. Door to office opens and Mariette comes out, now without her wrap.
MARIETTE Yes, Jacques?
CLOSE SHOT BUTLER Turns, puzzled to see Mariette in office doorway.
BUTLER The car is waiting, madame.
CLOSE SHOT MARIETTE
MARIETTE I won't need the car, Jacques. I'm not going.
She turns back, shuts office door.
CLOSE SHOT BUTLER at bedroom door.
BUTLER (dazed) Very well, madame!
Followed by camera, he starts down staircase, muttering to himself.
CLOSE SHOT OFFICE DOOR Door opens; Gaston comes out quickly.
GASTON Jacques!
BUTLER on staircase; from Gaston's point of view. He stops.
BUTLER Yes, M'sieu Laval?
CLOSE SHOT GASTON
GASTON Madame has changed her mind. She'll be down in a minute.
He goes into office, shuts door.
CLOSE SHOT BUTLER
BUTLER (still one beat behind) Very well, m'sieu!
Followed by camera, he continues down stairs, punch-drunk.
CLOSE SHOT MARIETTE AND GASTON in office. Gaston has just closed door.
MARIETTE But I told you I don't want to go.
GASTON But you have an engagement, and I don't want people to talk.
MARIETTE Talk? About me--about us?
GASTON Precisely.
MARIETTE (ironically) Afraid I'm ruining your reputation, M'sieu Laval?
GASTON No--yours, madame.
MARIETTE (after a slight pause) M'sieu Laval, I've got a confession to make to you ...
Gaston, remembering that Lily once used the same phrase before she him a crook, turns with a flash of alarm.
MARIETTE You like me. In fact, you're crazy about me. Otherwise, you wouldn't worry about my reputation. Isn't that so?
Gaston looks at her with relief and delight. She is as charming as if she herself were a crook.
MARIETTE But incidentally, let me tell you, I don't like you. I don't like you at all! (Going close to him.) I wouldn't hesitate one instant to ruin your reputation--like that! (She snaps her fingers.)
GASTON (loving the game; stepping closer) You would?
MARIETTE (even closer) Yes, I would!
GASTON (snapping his fingers) Like that?
MARIETTE (snapping her fingers again) Like that!
GASTON (playing tough) I know all your tricks.
MARIETTE (also tough) And you're going to fall for them.
GASTON So you think you can get me?
MARIETTE Any minute I want!
GASTON You're conceited--
MARIETTE But attractive--
GASTON Now, let me tell you--
MARIETTE Shut up--kiss me! (Gaston embraces and kisses her. She kisses him ardently, then frees herself for a moment, holds him off.) Wasting all this marvelous time with arguments! (Kisses him again. He takes her in his arms.)
CLOSE SHOT GASTON'S TELEPHONE It rings several times. No one answers.
LOWER HALL TELEPHONE CLOSE SHOT It is ringing--a different tone from the one we have just heard. Butler enters and answers.
BUTLER Hello ... Well, I'll try him again. (He pushes a button.) Yes, he's in his office, but he's busy ... Madame Colet? She's still here--yes ... But she's busy, too ... Well, I'll ring again.
LANDING ON UPPER STAIRCASE MED. SHOT office door. Telephone still ringing inside. Nobody seems to answer.
LILY'S HOTEL ROOM CLOSE SHOT Lily at phone, putting down receiver. She sits, very thoughtful. She tries to hum the fandango she had been humming so gaily before. Now it comes in fragments as she moves about, sits, gets up. She is worried and suspicious.
DISSOLVE TO:
MED. SHOT UPPER STAIRCASE Hall clock is striking eight. Butler comes up stairs, goes to office door, and knocks. To his multiple confusion, behind him Mariette's door opens and Gaston appears.
GASTON Yes, Jacques?
CLOSE SHOT BUTLER He turns to Gaston's new location.
BUTLER M'sieu Giron is downstairs.
GASTON (with vast authority) Tell M'sieu Giron I can't see him now. Impossible! (Butler is about to leave.) And, Jacques. Dismiss the car! Madame is not going. (He turns back into Mariette's room, shuts door.)
BUTLER (by now a confirmed cynic) Yes, M'sieu Laval!
Followed by camera, shaking his head, he goes down.
CLOSE SHOT MARIETTE'S BEDROOM DOOR It opens. Mariette appears.
MARIETTE Jacques!
CLOSE SHOT BUTLER
BUTLER (looking dizzily in wrong direction) Yes, madame-- (Turning.) Yes, madame!
CLOSE SHOT MARIETTE
MARIETTE Don't dismiss the car! I'll be down in a few minutes. (She shuts door. )
BUTLER CLOSE SHOT He finds his jittery way down the stairs.
BEDROOM CLOSE SHOT Mariette and Gaston at foot of bed. Bed is untouched. On bed is her wrap. Mariette picks up wrap.
GASTON (passionately) I want you to stay, Mariette. You've got to stay. You can't go now!
MARIETTE I must go.
GASTON I'm crazy about you!
MARIETTE (holding him off) I know it.
GASTON I love you.
MARIETTE I believe you.
GASTON Then why do you want to go?
MARIETTE Because I want to make it tough for you.
Gaston takes her in his arms, kisses her passionately. She returns kiss with even greater passion.
MARIETTE (still in his arms; genuine feeling in its full wisdom) We have a long time ahead ...
CLOSE-UP A MIRROR IN THE ROOM The couple are seen at one angle, as dialogue continues.
MARIETTE Weeks ...
CLOSE-UP ANOTHER MIRROR Another angle on the couple as she says:
MARIETTE months ...
MED. CLOSE SHOT ON THE EMPTY BED Their embracing shadows lie the length of the bed, giving the effect of two bodies in a sex embrace on the bed, as she says:
MARIETTE years! ...
CLOSE SHOT BOTH STILL EMBRACING She continues:
MARIETTE Think of that, Gaston--the future lies bright before us!
A real struggle goes on in Gaston. She kisses him tenderly, frees herself, and, followed by camera, goes to door, stops, turns.
MARIETTE (breathless; in a very low voice, making the rendezvous for later) Eleven o'clock! (She is gone; door closes.)
CLOSE SHOT GASTON A man in love, completely shaken. He sits on bed, thinks, then takes telephone slowly, decisively.
GASTON Élysée seven, eight, seven, nine.
LILY'S HOTEL ROOM The luggage is packed and in order. Followed by camera, Lily, dressed for travel, paces nervously up and down. Phone rings. She rushes to phone.
LILY Hello ... Darling! Oh, darling, it's good to hear your voice! I thought you'd never call! I tried to get you ... What? What? (Camera moves to big close-up of her.) Tomorrow morning? Why? (Tears come into her eyes.) Of course ... Um-hum ... Um-hum ... (With a brave, cheerful tone.) That sounds reasonable--very reasonable...
FADE OUT
SEQUENCE I
FADE IN
LIVING ROOM MAJOR'S HOME CLOSE-UP of Mariette. It is after dinner. We hear voices and music. Her thoughts are with Gaston. She sips from a champagne glass. Medium close-up to include her chair and a small table. She puts glass on the table and, oblivious to other guests, leans back dreamily, anticipating a night of love, eyes closed.
Camera pans to a couch not too near Mariette. François and the major, smoking cigars. Camera moves to close-up. They are watching Mariette. They exchange a look of understanding. They have become friends, realizing that neither has a chance with Mariette.
MAJOR (intimately) No doubt about it--it's that secretary.
FRANÇOIS Funny, the kind of men women fall for.
MAJOR No color, no sparkle--but dependable.
FRANÇOIS The type they marry.
MAJOR You know, I'm not the marrying type. I like to take my fun and leave it.
FRANÇOIS (inspecting the major; friendly) Nice suit.
MAJOR Like it?
FRANÇOIS Smart. London, eh?
MAJOR Ogilvie and Oglethorpe.
FRANÇOIS I thought so.
Both men lean back. A moment of silence.
FRANÇOIS (patronizingly) He's really not a bad fellow.
MAJOR Just dull.
FRANÇOIS Insignificant ... He's a secretary, always was a secretary, always will be.
MAJOR (with a smile) Funny--the first time I saw him I thought he was a doctor!
FRANÇOIS (sitting up suddenly) Doc--!
François looks stricken. Major, worried, thinks François has a heart attack. François gets up; Major gets up. François stares into space, then unseeingly at Major. Major becomes alarmed. François sits. Major sits with him. With sudden decision, François snaps his fingers, stands up. Major also stands up. François, followed by camera, goes straight to Mariette. Major, in a daze, follows. Mariette is still dreaming. François taps her on the shoulder. She looks up. His expression frightens her. François, waving his hand, tries to talk. The words don't come. Finally one escapes him.
FRANÇOIS Tonsils! (Major and Mariette think the man has gone insane.) Positively tonsils!
DISSOLVE TO:
VERY CLOSE SHOT GASTON'S BEDROOM WINDOW from outside. Behind the glass, Gaston's hand drumming on the pane nervously. Camera pulls back, and we see Gaston looking into the night, waiting restlessly. Suddenly he turns around sharply toward the door. Apparently someone has knocked at the office door. Camera swings over to the next window, and we recognize the office, which adjoins Gaston's bedroom. Through office window we see butler, who has knocked on bedroom door, waiting. Bedroom door opens, and Gaston emerges It is apparent that butler delivers a message. Camera moves down one floor and stops in a close shot of living room window from outside. Behind the glass stands Giron. He also drums nervously on the pane.
LIVING ROOM CLOSE SHOT at door to the corridor. Door opens. Gaston enters.
CLOSE SHOT GIRON He turns. Gaston comes into picture.
GASTON (impatiently) I'm very sorry, but this is no time, M'sieu Giron--
GIRON (emphatically) I've got to see you.
GASTON But not now.
GIRON Right now! It's very important, M'sieu Laval.
GASTON It may be important to you, M'sieu Giron--
GIRON No, to you--M'sieu Monescu.
Pause, as they face each other.
GASTON (cordially) Won't you sit down?
EXT. MAJOR'S VILLA In entrance driveway stands Mariette's car.
CLOSE SHOT of entrance door. Mariette comes out, followed by Major and François. All are excited.
MAJOR AND FRANÇOIS But, Mariette, please... Now listen--it's true ...
Followed by camera, they approach car.
MARIETTE It's absolutely ridiculous! I don't believe it!
MAJOR AND FRANÇOIS But, Mariette--
MARIETTE I'm awfully tired anyhow. So please leave me alone. Good night! (She steps into car. Chauffeur shuts car door and goes out of picture to driver's seat. François and Major linger awkwardly. Door opens and Mariette leans out.) I had a very lovely time! (Door doses.)
LONG SHOT Shooting toward the car from opposite side. View of house and Major and François is covered by car. Car pulls away. We see Major and François moving toward house, chummy, animatedly talking.
FRANÇOIS So I said to myself, "All right, if he wants to look at them, let him look at them. No harm in that." And then he said, "Say ah!" And that's all I remember ...
They disappear into house.
MARIETTE'S LIVING ROOM MED. SHOT Gaston and Giron at door to hall.
GIRON (thinking he is the winner) So ... You will pack your things at once!
GASTON (with deceptive humility) Yes, m'sieu.
GIRON And you will be out by tomorrow morning.
GASTON Very well, m'sieu.
GIRON Otherwise I'll call the police
GASTON Yes, m'sieu. (Giron is about to leave.) M'sieu Giron!
GIRON What is it?
GASTON (opening a new subject) You have enjoyed the confidence of this family for more than forty years. You must be a man of about-- about sixty-five. (Giron looks puzzled and uneasy.) Let's see-- (Gaston counts on his fingers.) You will be exactly eighty-seven when you come out of prison.
GIRON (outraged) What do you mean?
GASTON You say I am a crook.
GIRON I know it!
GASTON (amiably curious) Then why didn't you call the police? Why don't you call the police? (Conversationally.) I'll tell you why--you crook, you.
GIRON (trembling with indignation) M'sieu ...
GASTON (helpfully) Monescu.
GIRON M'sieu Monescu!
GASTON (with a smile) Just call me Gaston.
INT. MARIETTE'S CAR as it drives along. Close shot of Mariette. She knows that François told the truth.
MED. SHOT ENTRANCE DOOR to Mariette's house. It opens, and Giron emerges, full of dignity and indignation. Gaston, in the doorway, is a smiling host.
GASTON (calling after him) Good night, Adolph!
Giron stops in his tracks as Gaston shuts door.
STAIRWAY Gaston hastens up. He reaches landing and is about to enter his office, when outer doorbell rings. Exasperated, he hastens down.
HALL CLOSE SHOT at entrance door. Gaston opens. There stands Giron, furious.
GIRON Don't you dare to call me Adolph!
Gaston slams door in Giron's face and turns back.
STAIRWAY Gaston starts up.
UPPER LANDING is about to enter office, thinks a moment, then goes toward Mariette's bedroom door.
LONG SHOT HER BEDROOM INT. It is dark. Door opens. Gaston enters, shuts door, turns on wall switch, flooding room with light. He moves to a night table by the bed, on which is a small lamp, turns on the lamp, then goes back to wall switch and turns off main lights. Room is now in soft shadow, with only the small light. He turns to window, sees that shade is not down, goes toward the window.
CLOSE SHOT of same window from outside. Gaston appears, is just about to pull down shade when he glances toward his own bedroom in other wing of house. He sees:
CAMERA PANS QUICKLY to other wing of house and stops outside Gaston's bedroom window. Behind window stands Lily looking across at him. The situation is clear; she knows the worst. She looks menacingly calm.
MARIETTE'S BEDROOM WINDOW from outside. Gaston is in trouble and he knows it. He goes quickly toward door.
GASTON'S BEDROOM WINDOW from outside. Lily, having seen Gaston leave Mariette's room, pauses, makes up her mind, then draws the curtains closed.
GASTON'S BEDROOM INSIDE CLOSE SHOT at door. It opens. Gaston rushes in, looks toward window, doesn't see Lily, turns, and sees:
CLOSE SHOT LILY at the wall safe. She has one hand on the dial and is facing Gaston defiantly.
CLOSE SHOT GASTON Followed by camera, he goes to Lily.
GASTON Are you insane? You've to get out of here at once! She may come back any minute.
LILY (grimly) What time is your rendezvous?
GASTON (frantic) Now, Lily--
LILY Yes, M'sieu Colet?
GASTON (staggered; recovering; desperate) You have to get out of here!
LILY (bitterly) That's what I'm here for--to get out! I want to get away from here, from you--as fast as I can and as far as a hundred thousand francs will take me. (She returns to the safe, hand on dial.) Sixty-five, ninety-four--
GASTON Don't you realize--
LILY Thirty-five to the left--sixty- three, eight ... I wouldn't fall for another man if he were the biggest crook on earth ... Seventy-six, eighty-four, fifty-five-- (Suddenly facing him; bitterly.) What has she got that I haven't got?
GASTON Lily, you must listen to me.
LILY Shut up! Don't make up any stories!
GASTON But, Lily--
LILY Don't you dare lie to me! (Ironically.) I know you love me. (Pause. He is helpless.) Well, why don't you say something? Come on--be brilliant. Talk yourself out of it--bluff yourself in! (Gaston makes an effort to speak.) Shut up, you liar, you! (She turns back to safe, opens it, looks inside.) That's what I want! (Taking out the stacks of bank notes.) This is real! Money! Cash!
STREET in front of Mariette's house. Her car comes, stops.
MED. SHOT HALL Gaston's door. Lily comes out, very excited, closing door behind her. Followed by camera, she runs down steps, across hall, toward entrance door. Doorbell rings. She stops.
BUTLER'S PANTRY Butler in a chair, half-asleep. Bell rings again. He gets up and goes out.
HALL MED. SHOT at entrance door. Lily has disappeared. Butler comes, opens door. Mariette enters.
BUTLER Good evening, madame.
Sweeping past him, followed by camera, Mariette goes up stairs. She pauses at her bedroom door. Changing her mind, she goes to Gaston's door. She knocks.
MED. SHOT MARIETTE'S BEDROOM DOOR from hall. Gaston opens the door. He sees Mariette, smiles, and opens her door very wide, welcoming her to her own room.
CLOSE SHOT MARIETTE at Gaston's door to his office-and-bedroom suite. She smiles at him enigmatically. Instead of responding, she opens his door and goes in, leaving door open. As she goes she gives him another smile, as if to say, "This is where it's going to be."
CLOSE SHOT GASTON puzzled, but not worried. He closes her door and goes toward his own door.
GASTON'S BEDROOM Mariette stands in the center of the room. Gaston enters, closes door, goes toward her. Camera moves to close shot of both. She embraces him--they kiss. Then, languorously, she takes off her wrap. He helps her. She drops wrap on bed. Then she reaches for her necklace with the seductive air of a woman about to disrobe. She takes off the necklace, the jeweled pin on her bosom, then her bracelets and rings.
MARIETTE (as he watches her; a lover, but careful) When a lady takes her jewels off in a gentleman's room, where does she put them?
GASTON (gallantly) On the night table.
MARIETTE (provocatively) But I don't want to be a lady.
She kisses him lightly and moves out of the picture, the jewels in her hand.
CLOSE SHOT SAFE Mariette enters with the intention of opening the safe.
CLOSE-UP GASTON He is startled. He goes quickly toward her.
CLOSE SHOT SAFE Mariette is about to turn the dial. Gaston enters.
GASTON (helpfully) May I?
MARIETTE (again with that smile; playful) Ah, let me have a little fun.
GASTON (playing the game; graciously) Please! (He moves away.)
CLOSE SHOT ARMCHAIR Gaston enters, sits on the arm of the chair, and leans back, smiling, on guard.
MARIETTE (beginning to dial) Now let me see--sixty-five, ninety-four--
GASTON Thirty-three--
MARIETTE No--thirty-five! (She laughs.)
CLOSE-UP GASTON He laughs, too. They are apparently having a jolly time.
CLOSE-UP MARIETTE She continues to dial.
MARIETTE Thirty-five ... (Very casually.) You know, François--M'sieu Filiba-- thinks you're a very remarkable man.
CLOSE-UP GASTON For one swift instant his face tells us that now he knows the worst.
MARIETTE'S VOICE He was at the dinner tonight.
CLOSE-UP MARIETTE
MARIETTE (continuing to dial) Sixty-three, eight--
CLOSE-UP GASTON
GASTON Mariette!
CLOSE-UP MARIETTE She turns toward him charmingly.
MARIETTE (with pretended innocence) Yes, Gaston?
CLOSE SHOT MARIETTE AND GASTON
GASTON What would you say if you found your safe had been robbed?
MARIETTE I wouldn't say anything--I would act.
GASTON Call the police?
MARIETTE Instantly.
GASTON (as if to say, "It's a good idea") Um-hum ...
MARIETTE (lightly) But why talk about robbery on a night like this?
She pauses--is it ironically? He is not quite sure. He takes a last chance.
GASTON (ardently) You look beautiful.
MARIETTE Thank you. (Turning back coolly to safe.) Seventy-six, eighty--
GASTON (rising; the game is over) Mariette!
MARIETTE Yes, Gaston?
GASTON You have been robbed--for years. And not a hundred thousand francs, but millions. And you know who did it? Adolph.
MARIETTE Adolph?
GASTON Adolph J. Giron.
MARIETTE (laughing at him) And you expect me to believe that?
GASTON Naturally not. But I expect the police to believe it. (He goes out to night table.)
CLOSE SHOT NIGHT TABLE Gaston enters, picks up telephone.
CLOSE SHOT MARIETTE at the safe. Frightened, she goes quickly to telephone.
CLOSE SHOT TELEPHONE Mariette enters, takes receiver out of Gaston's hand, sets it back.
MARIETTE No!
GASTON Why not? He's a thief--he's a criminal.
MARIETTE I don't believe it!
GASTON Then why are you afraid to let me prove it?
Mariette turns away. She is beginning to suspect there might be truth in what he says.
GASTON (ironically) It would be a terrible scandal, wouldn't it?
MARIETTE (to herself) Giron...!
GASTON Yes, Giron! Chairman of the board of Colet and Company. Honorary president of the Orphans' Asylum. Adolph J. Giron--distinguished citizen! ... Well, shall I call the police? (Mariette's silence eloquently says no.) I see! You have to be in the social register to keep out of jail. But when a man starts at the bottom and works his way up--a self-made crook --then you say, "Call the police! Put him behind bars! Lock him up!" (He glares at her indignantly, then goes to the safe.)
CLOSE SHOT SAFE Gaston enters, gives the dial one turn, and safe opens. The papers inside are in complete disorder.
CLOSE SHOT MARIETTE staring at the open safe.
CLOSE SHOT GASTON He goes toward her.
CLOSE SHOT MARIETTE Gaston enters, bows formally.
GASTON I don't seem to have my calling cards with me, Madame Colet. So permit me to introduce myself informally--Gaston Monescu. I assure you in my own circles I am very well known.
Mariette looks at him sadly for a moment. She gets up, restraining tears.
MARIETTE You wanted a hundred thousand francs, and I thought you wanted me.
Gaston is deeply moved. Mariette turns, moves sadly toward window.
CLOSE SHOT WINDOW Curtains are now open. We see the church steeple--the same one we saw romantically before. Mariette enters and leans her head against the window, her back to the camera. The church clock strikes eleven.
CLOSE SHOT GASTON He is crushed. Followed by camera, he goes to her, stops at her side.
GASTON I came here to rob you--but unfortunately I fell in love with you. (No reaction.) Mariette!
She turns, looks at him.
MARIETTE (bitterly) Why did you take the money?
Gaston is speechless; the truth is too complicated. Despairing, she goes. He stands looking after her. We hear her steps as she crosses the room; then we hear the door shut. He turns to the window. Suddenly he stares toward Mariette's bedroom window.
CLOSE SHOT Mariette's bedroom window from outside. Behind the window is Lily, looking across at him implacably. She has witnessed the scene at the opened safe and has come to her own conclusions.
GASTON'S BEDROOM WINDOW from outside. Close-up of Gaston. He looks at Lily, dumbfounded.
MARIETTE'S BEDROOM CLOSE SHOT at door to corridor, from inside. Mariette enters. Suddenly she turns, and she too is dumbfounded, because she sees:
CLOSE SHOT WINDOW from Mariette's viewpoint. Lily is still looking out at Gaston, her back to Mariette. She hears the door close, turns, sees Mariette, takes in the situation at a glance, and goes, proudly direct, toward her.
CLOSE SHOT MARIETTE Lily enters. They face each other.
LILY Madame, the only thing that seems to stand between you and romance is a hundred thousand francs. Well, he didn't take it. (She brings the bank notes out of her jacket.) I took it--all by myself. Now you can have your romance!
MARIETTE (scornfully) I think you'd better go.
LILY Ever had a romance with a crook?
MARIETTE I beg your pardon!
LILY Let me give you a little advice. When you embrace him, be sure to put on your gloves. It would be too bad if your fingerprints were found ...
MARIETTE Mademoiselle Gautier--or whatever your name is--I thank you for your advice, but I must ask you to go. You've got your money--
LILY (violently) I don't want your money!
MED. SHOT ALL THREE as Gaston appears. He stops inside the door. Both women turn.
LILY (looking at Gaston, but talking to Mariette) You wanted to buy him for fifty francs. Well, you can have him for nothing! (She tosses the money out of picture.)
CLOSE SHOT BED The money falls on bed.
CLOSE SHOT GROUP Lily walks toward Gaston.
LILY And you--
GASTON (pleadingly) Lily-- (He takes her arm.)
LILY (freeing herself) Leave me alone! You were willing to sacrifice a hundred thousand francs for her. (She turns to Mariette, sizes her up.) Well-- (she has a sudden idea) she's worth it! [(To Mariette.) You were willing to pay a hundred and twenty-five thousand for a handbag. You can pay a hundred thousand for him!]
CLOSE SHOT BED Lily enters, takes the money she had gallantly relinquished.
CLOSE SHOT MARIETTE AND GASTON standing like two guilty schoolchildren. Lily comes into picture, walks past them to door, opens door, turns.
LILY Goodbye--Madame Colet and Company! (She leaves, slamming door.)
GASTON (calls) Lily!
He dashes to door, goes out, closes door. Behind the door we hear their excited voices. Mariette goes a step closer to the door. She is in a state confused suspense. Suddenly the voices cease. We hear, muffled, a woman's footsteps running down the stairs. Then, following, a man's footsteps. Then silence. Now, Mariette, followed by camera, goes to the bed and sinks into it heartbroken: she will never see Gaston again.
MED. SHOT DOOR Outside we hear the slowly returning footsteps of Gaston.
CLOSE SHOT MARIETTE sitting up on bed. She turns toward door with hope.
CLOSE SHOT DOOR Gaston enters, closes door, and moves toward Mariette. He looks very grave.
CLOSE SHOT MARIETTE sitting on bed. Gaston goes to her. Pause.
GASTON (with great feeling) Goodbye...
MARIETTE (getting up; also with feeling) Goodbye.
GASTON It could have been marvelous ...
MARIETTE Divine ...
GASTON Wonderful ... But tomorrow morning, if you should wake out of your dreams and hear a knock, and the door opens, and there, instead of a maid with a breakfast tray, stands a policeman with a warrant--then you'll be glad you're alone.
MARIETTE (sighs) But it could have been glorious.
GASTON Lovely.
MARIETTE Divine ... But that terrible policeman!
GASTON Goodbye ... (He takes her in his arms. They kiss. He goes to door.)
CLOSE SHOT DOOR Gaston opens door, turns to her.
GASTON You know what you're missing?
CLOSE-UP MARIETTE She shuts her eyes and dreamily nods.
CLOSE-UP GASTON in doorway.
GASTON (shaking his head) No ... (Out of his coat pocket he takes the necklace of seed pearls.) That's what you're missing! ... Your gift to her.
CLOSE-UP MARIETTE For an instant she is taken aback; then she smiles.
MARIETTE (graciously) With the compliments of Colet and Company!
CLOSE SHOT GASTON He bows, goes. Door shuts behind him.
CLOSE SHOT MARIETTE She looks after the departed Gaston a moment. Her mood is broken by ringing of telephone.
MARIETTE (into phone) Hello ... Yes ... What? ... Yes ... No, no. Thank you very much, but the handbag has been found (sadly and with another meaning) exactly two weeks and three days ago. (She hangs up.)
DISSOLVE TO:
INT. TAXICAB MOVING AT NIGHT ALONG PARIS STREETS Close shot of Gaston and Lily. There is a strained silence between them. Gaston smiles toward her. He is trying to make up, but she sits frozen. He smiles again, anticipating the surprise he has in store for her. He reaches for the pearls in his pocket. A look of dismay crosses his face-- the pearls are not there! He looks in all his pockets, can't find them. Suddenly, with suspicion, he looks sidelong at Lily. She responds to his look with a triumphant smile. From her bosom she brings forth the string of pearls and holds it up. He is amazed, can't figure it out. She reaches behind and brings forth a handbag, which we recognize as the one originally stolen from Mariette, and she drops the pearls into the bag. Gaston is now smiling with admiration, yet he looks sly. As Lily drops in the pearls she glances into the bag. Her expression changes. Something is missing. She looks suspiciously toward Gaston. Nonchalantly, he draws, from his inside breast pocket, the precious bank notes, and slips them too into the bag. They smile at each other. Together forever, they embrace and kiss.
FADE OUT
THE END
Screenplay by Samson Raphaelson
***********SONGS***********
Trouble in Paradise
Most any place can seem to be a paradise While you embrace just the one that you adore There needn't be an apple tree with magic powers You need no garden filled with flowers To taste the thrill of sweet greed hours Gentle perfume and cushions that are silk and soft Two in the gloom that is silent but for sighs That's paradise while arms entwine and lips are kissing But if there's something missing That signifies Trouble in paradise
Colet and Compagnie
Colet, Colet, Colet and Compagnie Are makers of the best perfume. If you and your beloved can't agree, Permit us to suggest perfume. Cleopatra was a lovely tantalizer. But she did it with her little atomizer. We'll make you smell like a rose; Every nose in Paris knows Colet and Compagnie.